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MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE FESTIVAL

Emma Webster and George McKay MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL

Emma Webster and George McKay Published in Great Britain in 2017 by University of East Anglia, Norwich NR4 7TJ, UK as part of the Impact of Festivals project, funded by the Arts and Humanities Research Council, under the Connected Communities programme. impactoffestivals.wordpress.com ACKNOWLEDGEMENTS

This book is an output of the Arts and Humanities Research Council collaborative project The Impact of Festivals (2015-16), funded under the Connected Communities Programme. The authors are grateful for the research council’s support. At the University of East Anglia, thanks to project administrators CONTENTS Rachel Daniel and Jess Knights, for organising events, picture 1 FOREWORD 50 CHAPTER 4. research, travel and liaison, and really just making it all happen  JOHN CUMMING OBE, THE BBC YEARS: smoothly. Thanks to Rhythm Changes and CHIME European jazz DIRECTOR, EFG LONDON 2001-2012 research project teams for, once again, keeping it real. JAZZ FESTIVAL 50 2001: BBC RADIO 3 Some of the ideas were discussed at jazz and improvised music 3 INTRODUCTION 54 2002-2003: THE MUSIC OF TOMORROW festivals and conferences in London, , , 6 CHAPTER 1. 59 2004-2007: THE Edinburgh, San Sebastian, Jazz Network Wroclaw and THE EARLY YEARS OF JAZZ FESTIVAL GROWS Ljubljana, and Amsterdam. Some of the ideas and interview AND FESTIVAL IN LONDON 63 2008-2011: PAST, material have been published in the proceedings of the first 7 ANTI-JAZZ PRESENT, FUTURE Continental Drifts conference, Edinburgh, July 2016, in a paper 8 EARLY JAZZ FESTIVALS 69 2012: FROM FEAST called ‘The role of the festival producer in the development of jazz (CULTURAL OLYMPIAD) in Europe’ by Emma Webster. George McKay has drawn on this Citation 14 CHAPTER 2. TO FAMINE (AUSTERITY), Emma Webster and George McKay. TOWARDS THE LONDON research for a chapter called ‘Festivals’ in Francesco Martinelli AND BEYOND (A NEW 2017. Music From Out There, In JAZZ FESTIVAL TITLE SPONSOR) (ed.) The History of European Jazz: The Music, Musicians and Here: 25 Years of the London 14 THE BIRTH OF BRACKNELL Audience in Context (Equinox, 2018). Jazz Festival. Norwich: Arts and AND CAMDEN FESTIVALS 70 CHAPTER 5. Humanities Research Council/ THE EFG YEARS: 19 THE NEW JAZZ OF THE 1980S At Serious and the EFG London Jazz Festival, thanks to John University of East Anglia 2013-PRESENT Cumming, David Jones, Claire Whitaker; Ope Igbinyemi, Martel 24 FESTIVALS IN THE CITY Design 70 2013: 21 YEARS’ YOUNG Ollerenshaw and Amy Pearce; and other Serious staff members www.designpod.info 75 2014: JAZZ EDUCATION past and present, particularly Louise Dennison and Piers Mason, 28 CHAPTER 3. THE BIRTH OF A NEW 77 2015: IN THE CLUBS AND for all their help in facilitating the research. Print Page Bros FESTIVAL AND ITS EARLY ONTO THE STREETS Many thanks also to all the other interviewees (see list at end) YEARS: 1993-2000 82 2016-2017: LONDON who took the time to contribute to the project. 28 1993: THE FIRST LONDON For an open-access PDF JAZZ FESTIVAL 86 CONCLUSION. #JAZZIMPACT Thanks to the National Jazz Archive, particularly David Nathan, version of this book, 36 1994-1995: NEW VENUES, Roger Horton, and to the Royal College of Music library for help where the print size NEW SPONSORSHIP 91 JAZZ IS FOR EVERYONE with sourcing and scanning archival material. can be enlarged, go to 39 1996-1998: THE ORIS YEARS 92 BIBLIOGRAPHY/SOURCES And last but not least, a huge thanks from Emma to Jan Webster https://impactoffestivals. 43 1999: BUT IS IT JAZZ? 99 INTERVIEWS for his excellent editing talents and encouragement over the wordpress.com/project- 47 2000: THE NEW MILLENNIUM 100 PICTURE CREDITS course of the project. outputs/ 101 INDEX FOREWORD: … JOHN CUMMING, DIRECTOR, LONDON JAZZ FESTIVAL INTRODUCTION

Landmarks come and go, and the Jazz occupies a special place in Not just within a city, but as part of Perhaps more important, they have Yet the music retains its And I thank a Serious team that 25th year of the London Jazz Festival London. Over the decades, jazz in worldwide reach that transcends helped to remind us of our core fundamental spirit – a spirit that includes directors and staff, offers an opportunity not just to this city has connected with new barriers of race and ethnicity, and, values – some of which stretch back fires the urge of the individual artist freelancers and volunteers, and celebrate the dynamic that connects cultures and new communities, at its best, celebrates a global mix of to the pre-history of the London to create, and to communicate the authors of this history. As jazz generations but also to making music that has become an gender, class and generation. Jazz Festival. Their approach has with an audience that continues to hashtag – something that we never reflect back on the festival itself. essential part of London’s cultural been painstaking, sympathetic, value the simple and profound live dreamt of a quarter of a century ago For those of us involved in the . During the festival’s ten days, and sometimes provocative. Most experience of a band on a stage. – for the 25th festival proclaims: In a year, 2017, where the centenary festival, and even though we you find it in venues large and small, important, they have immersed And while this experience still We are Jazz… of the first jazz recordings marks are committed to our aims and in cinemas and art galleries, on the themselves in our world while lies at the heart and soul of our one stage in a history that stretches aspirations, both short and longer airwaves and online – and playing managing to make their own festival, the new world allows us further back, the London Jazz term, it’s all too easy to lose sight to all ages, from Jazz for Toddlers judgements. The outcome is I think to spread the message ever more Festival – in its own quarter-century of the wood among the trees. This sessions to a dedicated audience for an immensely valuable piece of widely through means that might year – itself marks jazz past and new history of the festival not only whom jazz has been the soundtrack work that informs our practice as allow a performance in London to present. As it has since it began. And reminds us of the highs and lows, of their lives. a producer of live music, and at the be experienced simultaneously in – as festivals should – it also enters evolution and the rationale, but also same time marks the essential role the further reaches of the planet. the jazz clairvoyant’s tent, gazing The meticulous work that follows moments of revelation, frustration, of academic research in evaluating The next 25 years will be an equally into the crystal ball. Alongside the in this history charts the festival and intense pleasure. the impact of the cultural sector in fascinating journey. artists who have helped shape the journey across decades, and probes I’m not sure that those of us involved a wider context. music, ’s movers and shakers the bigger picture that surrounds Festivals are a mammoth team in the day-to-day, year-to-year are finding their own creative it. It’s not just about the music, Looking back at the materials that effort, and I’d like to take this business of getting the show on the pathways that will steer us into the extraordinary and inspiring as that Emma and George unearthed in opportunity to thank everyone who road ever really get to the bottom of future, in the true spirit of a music can be. It’s about the way that what their festival archaeology… well, has ever been part of making it all how it all works. Emma and George that thrives on innovation and new might be seen as a niche area 25 years ago, social media hadn’t happen, and then making it happen have found their way through piles of energy. of creative work can reflect and been invented, the internet was a again, and again – the funders, randomly stored paperwork, sounds, respond to external change – and, nascent force, and we still lived in a donors and sponsors, our ever- strongly-held opinion, and often we hope, make a difference. world where the old school was only expanding audience, and of course only half-remembered anecdote, to just beginning to be re-invigorated the thousands of musicians who illuminate this process. by a fast-changing new world of have provided countless hours of communication technology – let pleasure and stimulation, some of fast-shifting social, economic them just starting on their creative and cultural change. path, others no longer with us. 1 2 The London festival still puts an emphasis on the adventure of “ being human and also becoming more human, and jazz, to me that word means ‘I dare you to go beyond – like in Star Trek! – places where no-one goes’… And I see that in director John Cumming’s attitude… when he talks and he gets really excited about something, it’s like his life, he wants to keep that rich adventure, INTRODUCTION you know… The London Jazz Festival’s a great festival.” , SAXOPHONIST 2016 The first London Jazz Festival in 1993 is heralded by 20m THE OPENING projections on the side of St Pancras railway station NIGHT On Friday 14th May 1993, the Union Grimes’ folk-jazz group with its By putting on a young American The aim was to create a London Sending a bold message to London This book, published to coincide Chapel in Islington hosted the , percussion and the ‘graceful band who looked to the music’s Jazz Festival that both reflected and that its new jazz festival had arrived, with the 25th anniversary of what opening night party of a brand new lyricism’ of Annie Whitehead’s roots, its ‘vigorous present’, and to contributed to London’s status as the 1993 event was heralded by is now a major fixture in national festival. Supported by the ‘spine- , along with Afro Bloc’s the future of jazz, alongside young a world city, as well as functioning 20-metre-high images of jazz and international jazz calendars, chillingly powerful’ British singer more carnivalesque sound, made British talents from London itself, as a kind of cultural melting pot, if musicians projected on to the examines how the event fits into the Carol Grimes and thunderous for a contrasting yet complementary so this first gig epitomised the new that’s not too utopian. At its very best side of St Pancras railway station, history of jazz in Britain and into twenty-piece percussion-based accompaniment to the exuberant London Jazz Festival’s mission the jazz festival sounds London’s described by as the fabric of London, showing how London Afro Bloc, the party was Americans, whose sousaphone-led statement: effervescent creative presence as a beginning with ‘a confident shout the festival’s history is part of the headlined by ’ Rebirth brass bass, rough slide May 1993 heralds the start of musical city which has been at the that has reverberated through the history of London itself. It is a visual , who, with their and kicking rock solid snare drums something new and exciting for the centre of jazz in Britain for over a decades since.’ Up to that point, and cultural history of what Time combination of roots jazz, , hip played a euphoric version of Herbie London jazz scene. After too many hundred years and which today is had been leading the way Out has called ‘one of the biggest hop and , as The Guardian’s Hancock’s 1970s Head Hunters as years without a jazz festival of the still a major centre for the European as the only British city ‘with the cultural events of the year’ and The jazz critic John Fordham recalls, well as some ‘luxurious reggae’. scale provided by other European jazz movement that’s developed nerve to stage a truly representative Times names ‘one of the world’s ‘were the perfect harbingers of As Fordham said at the time: ‘It’s cities, London will at last reflect the since the 1960s, as well as being an mixture of big-time jazz , great music festivals.’ the idiomatically freewheeling and showbiz all right, but as a party- important cultural contributions extraordinary site of transatlantic club event, commissioned pieces, inclusive London Jazz Festival yet band it’s a hoot, literally.’ made by its own committed and and Commonwealth musical and work-in-progress.’ It was time to come.’ creative musicians, in 10 days of exchanges and dialogues. for London to join the party. eclectic jazz-related activity from around the world.… Involving more … one of the best jazz international jazz stars and top venues than ever before, it is seen “ festivals in the world. as a prototype of a festival that will ” spread right across London in years THE GUARDIAN to come.

3 4 CHAPTER 1 THE EARLY YEARS OF JAZZ AND FESTIVAL IN LONDON Though far from the cradle of jazz in New Orleans, and the cradle of recorded jazz in New York, our starting observation is that the city of London has a significant history of live jazz that goes back at least a century, and a history of jazz festivals in and around the city that goes back well over half a century. There is today an entire set of works by academics and jazz journalists available on the history and pre- history of the music in Britain, going back as far as, for instance, the late Victorian period, as with Catherine Parsonage’s book The Evolution of Jazz in Britain, 1880-1935. Original promotional postcard, 1918 The history is a turbulent and compelling one, featuring wonderful In this book we tell one part of the in 1961. That is over half a century new music and sounds, sex story, which is also one of its most of festivalising in and around the city scandals, royalty, the pleasure successful parts: the rise over 25 with the modern music of jazz. years of the London Jazz Festival. of dancing and the preaching of A century ago, two remarkable Of course, London is by no means disapproval, narcotics, underground ensembles from the United States the oldest still extant jazz festival clubs, racial harmony, racism, war, sprung on London city in one in Europe – , , the destruction and rebuilding of glorious year, shaking its musicians, and others have all celebrated and London, festivals, jazz riots, too dancers, fans, new music critics and passed their 50th anniversaries, many early deaths, parades and instant jazz historians all at once very impressively, and we all nod political demonstrations, media in a febrile curiosity. The year was in timely appreciation of their from early radio to online streaming, 1919, and a first British tour by the achievements. Yet London’s status and more. It is also a rapidly evolving Original Dixieland Jazz Band (ODJB), as a global multicultural city history: London in the 1920s was a group of white jazz musicians, demands the attention of the ears already becoming a jazz city, one was followed by live performances and eyes of jazz musicians and fans marked by what David Gilbert has by the African-American Southern each November. And we gently point described in The London Journal as Syncopated Orchestra (SSO). Of out that, although the London Jazz ‘the syncopation of different social course it is likely that jazz arrived in Festival is ‘only’ 25, London and and cultural beats, by improvisation Britain before 1919. and experimentation on traditional its environs have had a major jazz themes, and by the cosmopolitan festival, and often more than one in fusion of influences from abroad.’ the same year, since at least the first National Jazz Festival in Richmond

5 6 CHAPTER 1 EARLY JAZZ Advert for a 1957 All-Night Carnival ANTI-JAZZ of Jazz at the FESTIVALS The word ‘jazz’ was in general use Britain’s first specialist jazz record Although perhaps not quite on the From the first international jazz the first at this time and some musical shop, Levy’s in London’s Whitechapel level of the Anti-Jazz Movement festival in Nice in 1948 to Beaulieu, European Tour arrived in Britain performances defined as jazz had Road, opened in 1927, the same year in the Irish Republic in the 1930s, Hampshire in 1956 to Montreux in 1959, featuring , taken place, and jazz sheet music as (originally Schatt) during these decades there was still in 1967, the jazz festival has long , Buck Clayton, and had been available for a couple was born, also in the east end – the great resistance to jazz from the featured as a significant European . of years at least. Similarly, World Jewish contribution to jazz in London establishment; indeed, of anything contribution to the music, drawing War One soldiers on home leave and the UK is as noteworthy as it is that ‘smacked of American culture’ on as well as influencing American These package tours, themselves could hear Dan Kildare and his Clef in other countries and continents – finding its way into the British way festivals like Newport, originally based on a model developed by Club Orchestra at Ciro’s Club, for while (from 1926) and of life. To protect British values established in 1954. Described as a American Norman example, in London’s West End. Yet Rhythm (from 1927) became vital from this ‘Transatlantic octopus’, ‘decade of festival’ by George McKay, Granz, were to become an important the ODJB and the SSO crystallised sources of information for musicians jazz broadcasting on the recently the 1950s in Britain were bookended model for American jazz musicians something important in London for and jazz enthusiasts, as well as constituted BBC was controlled by the in 1951 to perform in Britain. While jazz live music making, at venues from influencing how people listened to through careful selection of ‘house’ – for which London’s Southbank clubs provided fairly regular dancehalls to . and performed the music. The Bag bands and a deliberately diluted jazz, Centre was built, of course – and opportunities to play, however, as O’Nails in Kingly Street, , was before Lord Reith finally outright the prototype for the Notting Eric Hobsbawm writes in 1959, from ‘The creation of jazz. The sensation the home of Britain’s first Rhythm banned ‘hot music’ entirely in 1935. Hill Carnival in January 1959, a the musician’s point of view, festivals of America’, said the London Club in the 1930s, which held regular ‘fayre’ in St Pancras, such as Newport, Nice, Cannes Palladium programme for the ODJB Around the same time the jazz record recitals and lectures, organised by Trinidadian communist and San Remo were at that time (with dancer). The ODJB recorded Musicians’ Union (MU) had secured and such rhythm clubs became and journalist, Claudia Jones. ‘spiritually rather than financially in London also, while members agreement from the Ministry of important opportunities to listen to Although technically not a ‘ban’, the satisfactory, like the occasional of the larger SSO played with Labour that it would be consulted and talk about records, emulated by practicalities mean that effectively Even prior to this, there are recitals in the temples of official British musicians; each of these over all applications for permits tantalising glimpses of a London- the BBC via its Radio Rhythm Club for twenty years, from around 1935 music [like the Festival Hall]... contributed to the dissemination of by foreign musicians, the MU’s programme in the 1940s. to around 1955 – from revivalism based jazz festival culture in the early They are a sort of cultural jazz in London and in Britain, and argument being that one of its duties to bop, a massive period of jazz postwar years of the late 1940s. For recognition of jazz, but too each arguably helped London’s was to protect British musicians innovation – very little live American example, a very early jazz festival infrequent to count much.’ burgeoning reputation as a by preventing foreign labour from jazz was heard in the UK. This led in Britain was the ‘Festival of Jazz’ In November 1955 at the Royal hotspot. Shall we say that London replacing them. By of the to the situation that when Charlie which took place at London’s Winter Festival Hall, the National Jazz has never been quite the same place 1940s, American musicians in Parker played his European debut Garden Theatre, Drury Lane, on Federation organised its second ever again? particular found it very difficult to at the International Festival de 24 April 1949 in conjunction with perform in Britain, and vice versa. The London . Performers British Festival of Jazz, in the form Jazz was transmitted not only via Jazz in in May 1949, the included Freddy Randall and his of a multiple bill pair of concerts live music early on. From records cross-channel ferries were full of Band, The Yorkshire Jazz Band, Mick in the afternoon and evening. The and tapes to CDs, downloads Signed front cover of the 1948 London musicians desperate to Gill and his Imperial Jazz Band, brochure’s introduction explained and streaming, the development Nice Jazz Festival programme see and hear the man in person. and his Band, to festival-goers that ‘during the of recording technology has (Conversely it has been argued that and George Webb. It is not being past year we have tried to maintain had a significant impact on the isolationism of the early 1950s unkind to point out that this bill a high standard of entertainment, its development, and that of helped to create an exceptionally compared poorly alongside the Paris interspersing the regular popular music more broadly. The strong pool of musicians festival just a couple of weeks after appearances of exponents of both disembodiment of the voice also by protecting them and allowing – apart from Bird, also Traditional and Modern Schools meant that in the early days of jazz them to develop at their own pace.) played there that year, for instance. at the Recital Room, with large records, white people could listen concerts both at the Festival Hall to black music and vice versa with It is vital to acknowledge that the and in the provinces. We have also fewer of the obvious restrictions or 1950s were also an important year tried to give a hearing to the new prejudices which might come about for jazz festivals across the Atlantic, groups and fresh voices in British in the live context. with ’s inaugural jazz, and to welcome visiting jazz Newport Jazz and Folk Festival personalities to our shows.’ The (Miles debuted in 1955) and the first festival’s afternoon featured held in 1958. modern and the evening’s traditional Touring to London, Birmingham, jazz, with a US closing headliner in Newcastle, Bradford and Sheffield, .

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THE BEAULIEU NATIONAL JAZZ JAZZ FESTIVAL FESTIVAL Arguably the most significant Soon teenage festival-goers were The magazine went on: Taking on the jazz festival baton event in terms of the history of jazz camping under the stars, living free Two hundred police and a pack of from Beaulieu was the National festivals in Britain was the Beaulieu in the woods, smoking marijuana tracker dogs controlled Britain’s Jazz Festival, first held on the Jazz Festival on the Beaulieu estate and drinking cider and having sex, biggest jazz festival last weekend. outskirts of London at the Richmond and stately home in Hampshire, first against a backdrop of wild music Fifteen thousand people went to Athletic Ground in 1961, promoted organised by the aristocratic Lord and weird dress. They were called Earlswood (Birmingham) where by the National Jazz Federation’s Montagu in 1956 and ending in 1961, ‘ravers’. (Singer often sixteen trad bands played non-stop . Pendleton had the final two years marred by violent tells the story that that his first for 14 hours. BUT THERE WAS NO been involved in the later Beaulieu clashes between trad and modern transatlantic solo hit ‘Maggie May’ RIOT. THERE WAS NO ROWDINESS. Festivals and, in the same summer jazz fans. The 1957 festival’s slogan from 1971 was ‘more or less a true THE CRITICS OF JAZZ FANS WERE that Beaulieu was suffering from linked space and sound: it was to be story, about the first woman I had CONFOUNDED. crowd trouble for the second ‘A combination of blood and sex with, at the 1961 Beaulieu year running, the first festival the .’ Jazz Festival.’) According to Simon Frith et al, at Richmond featured a mix of the Beaulieu Festival was also an jazz styles, including the Johnny From its modest beginnings, the In scenes that would be more important symbolic event for British Dankworth Quartet (and Orchestra), festival quickly grew into one of familiar in a few years between jazz, the images of large crowds ’s Jazzmen, and the more Europe’s most interesting early jazz mods and rockers, there were jazz of jazz fans in the music as well contemporary Quintet. festivals, and, as McKay suggests, riots in the festival’s final two years. as the national press and later on Pendleton remembered them being Beaulieu’s form – and indeed, The BBC, trying new live outside television and newsreels creating a ‘very polite affairs. You see, you went problems – became the prototype for broadcasts from the jazz festival sense of a ‘jazz community’ for the home in the evening, it was just like many of the pop festivals and youth in 1960, had to cut the show short first time. As well as being musically going to a concert without a roof on music gatherings in Britain over the because of crowd trouble. The and socially significant, early it really.’ following decades. In Tomorrow’s banjo from ’s band was gatherings such as Beaulieu and People, the first book to chronicle irreparably damaged – surely there the Trinidadian Carnival were also By 1963, a June edition of Floating Festival of Jazz in 1957, organised by Jazzshows the British pop festival movement, was no more telling symbol of trad politically so, developing alongside Crescendo magazine was writing Jeremy Sandford wrote of the vs. modern jazz antagonism than a more overtly political events such as of the summer ‘festive season’ 1958 Beaulieu as ‘the first British smashed-up banjo. The ‘BEATNIK the annual Aldermaston Campaign that ‘the jazz festivals are upon us. Jazz Festival, on a boat trip from civic dignitaries and has just about festival proper, a two-day event that BEAT-UP’ of the 1960 festival, as it for Nuclear Disarmament marches There are half a dozen major events Liverpool to the Isle of Man which, everything except the massed bands attracted 4,000 people.’ was headlined in one newspaper, or in reaction to the worsening racial this Summer, besides yes, happily featured on the of Ken Colyer, Mike Cotton, Terry was reported in the Commonwealth tension in . of smaller affairs and the usual Merseyssippi Jazz Band. Lightfoot and Acker Bilk marching and world press as an extraordinary roistering boatloads that ply our and counter marching up and down In his Jazz News column in July mix of English aristocratic wider and less peaceful estuaries.’ the High Street during the 1962, Ian McLean provided a witty eccentricity and American jazz This last was a reference to events rush hour. madness. Indeed, jazz festivals such as George Webb’s annual description of the booming jazz would quickly become so commonly Floating Festival of Jazz, which festival scene across the country: On a smaller scale there is the associated with crowd trouble that it started in London in 1957, on a Festivals come in all sorts of shapes Festival which lasts about a day was in fact the absence of trouble at boat with jazz bands and fans on a and sizes. There is the Mammoth or so depending on the availability the Earlswood Jazz Festival in July Sunday afternoon down the Thames one which lasts for about a week. of large tracts of land on which 1961 that made an ironic front page from Tower Pier to Margate and This is suspiciously tied up with anything from a fairground to a zoo, headline in Melody Maker: back. The Thames as Mississippi. the city’s Art and Culture Week and or even a circus, can be erected ‘Wot, no Riots?’ There was also a Northern Floating is patronised (in every sense) by as extra.

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1970s Reading Festivals programmes with jazz festival logo in titles

While jazz was starting to disappear from its own national festival, other jazz festival-style events were taking place in the UK, and, as Ronnie Scott’s sign on Frith Street, 2015 jazz became more accepted (and The British and UK-based jazz Society (1973, now the All-Party alongside the street-based urban funded) by the establishment, so musicians and improvisers of the Parliamentary Jazz Appreciation event of black London, the Notting too the crowd trouble which had late 1960s and 1970s – the likes of Group) and the London Musicians’ Hill Carnival, but it was in fact also previously plagued jazz festivals Even little villages have Jazz Reflecting changing popular tastes, , , Evan Collective (1976), as well as clubs an important period in London Jazz began to dissipate. The Daily Mail Festivals. Leader of the local youth and as happened with other major Parker, Chris McGregor, Mike Gibbs, like Ronnie Scott’s, the Bull’s Head, Festival history, as the seeds of the International Jazz Festival in June club engages a couple of groups jazz festivals like Montreux and Joe Harriott, Derek Bailey – were Barnes (both 1959), the 606 Club Camden Jazz Week were sown in 1963, for example, was sponsored – style notwithstanding – hires a Newport, the National Jazz Festival developing new jazz idioms which, (1969), and the PizzaExpress club in 1974 and the first Bracknell Festival by a newspaper that had regularly cheap (in every sense) band from would begin to expand its original as jazz writer Roger Cotterrell has Soho (1969), all of which would go on began the following year, organised been histrionically critical about the a leading London agency to top the jazz remit to include rock and blues; put it, ‘helped to build a collective to become London Jazz by John Cumming. antics of the jazz ‘ravers’ at Beaulieu bill in the Scout hut and, all of a were included on self-confidence that made European Festival venues. Festivals a few years previously. sudden, Middlecombe-In-The-Cart the bill for the first time in 1963. In jazz eventually no longer reliant on In 1968, Graham Collier had become has a Jazz Festival. The local rag is 1964 it was renamed the National Another jazz-based festival of note American developments’, with a the first jazz composer to receive impressed, the binge gets loads of Jazz and Blues Festival, and by the was what The Guardian describes as distinctive flavour and clear identity an Arts Council bursary for his publicity and a thunderstorm and mid-1960s, jazz groups had become the first London Jazz Festival: ‘Jazz of its own. piece, Workpoints. Yet, despite all the whole stupid thing is a outnumbered by blues and R&B Expo ‘67’, which took place indoors Indeed, the 1960s was to become this activity and organisation, the total flop. bands. By 1971, the National Jazz in the . Really an the ‘golden decade of creativity in 1970s in Britain saw an overall Festival had moved to Reading, eight-part concert series, the Expo Then you can have the mixture as British jazz’ in the words of writer decline in jazz participation and, as again not far from London, and was associated with George Wein’s before... adding water. This is called and broadcaster Stuart Nicholson puts it, ‘areas of changed its name to The National Newport Jazz Festival and was part a Floating Festival and the extra in A New History of Jazz. Such jazz had been marginalised by rock Jazz, Blues and , of a European tour sponsored jointly hazards include missing the boat confidence was aided in part by and pop to the extent that it was no before changing to Reading Rock by Pan-American Airways and the – bandleaders do it as well – and a the gradual development of jazz exaggeration to say that jazz was in 1976, with ‘National Jazz, Blues US Travel Service as a means of bar which opens as soon as the boat infrastructure in London, including at one of its lowest ebbs ever.’ As a and Rock’ in smaller lettering on the promoting US tourism. By the final leaves the pier. At nine a.m. the Jazz Centre Society (1968), the result, the 1970s now is remembered poster. (Although interestingly, the Expo in 1970, a classified ad inThe London Musicians’ Co-operative in London terms posters still contain the original logo Guardian boasted that the event was (1970), the Musicians’ Action Group predominantly as the era of free of a on a chair up to the now ‘The biggest jazz festival in (1972), the House of Commons Jazz rock concerts in public parks, late 1980s.) the world.’

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We just used to bunk in, every gig. We “ always found a way to get in! And even SOHO AS when we were caught they never threw BAROMETER FOR us out! So we got to see Art Ensemble of JAZZ AND FOR Chicago, , , Art LONDON Pepper. I got to see so much great stuff. Soho in is a useful Yeah, it was fun times, just waiting for the barometer for some of the bigger musical, economic and social Camden Jazz Week so we could changes in London in the twentieth find another way to get in! and twenty-first centuries. By the Front cover of the 1988 Soho Jazz Advert for Soho Jazz Wednesdays ” mid-nineteenth-century, Soho was Festival souvenir programme, from Ronnie Scott’s brochure, , BASSIST a hub for immigrants (including featuring design by Eduardo Paolozzi Nov-Dec 2015 Karl Marx) and instrument makers, and had already gained a reputation The London Olympics in 2012 Indeed, as a number of recent articles as a centre of gastronomy, of the sparked a tourism boom in about gentrification inThe Guardian sex industry, and of musical and London and the UK, and twenty- and even and TOWARDS THE theatrical entertainment. first-century Soho appears on the New York Times suggest, rising The area was perfectly suited for surface to be thriving. A number house and rent prices could be the jazz and dance band boom of of Soho’s live music venues and bringing about what Pete Clark calls LONDON JAZZ the 1920s and the 1930s saw a host associated businesses, however the ‘slow death of Soho’, an area of legal and semi-legal venues, – night clubs, record shops, now being shaped into ‘something including the site of Britain’s first instrument shops – have closed resembling a homogenised shopping FESTIVAL Rhythm Club, the Bag O’Nails. Soho for various reasons, including the mall’, while ‘ultra-prime’ central was also the base of the London Crossrail east-west railway line London is fast becoming ‘a ghost- Orchestral Association and then (formally called the Elizabeth line), town where absentee investors park THE BIRTH OF BRACKNELL the Musicians’ Union on Archer changing consumer habits, rapidly their wealth. Author and journalist AND CAMDEN FESTIVALS Street, which became an unofficial escalating business rates and rents, Michael Goldfarb has speculated that social gathering and hiring place for and the tightening of local authority ‘the delicate social ecology that made John Cumming is at the heart of MaMa Troupe and with early plays took a lot of Cumming’s income, as musicians until the 1960s. Nearby licensing regulations. London’s transformation into a great the London Jazz Festival, and has by Paul Foster, Sam Shepard and did Dobell’s Record Shop, and he was for world city over the last two decades Lanford Wilson – artists for whom Crossrail’s construction has meant been since it began. Named by the spent much of his free time hanging music shops and music publishers. is past the tipping point.’ music was an intrinsic part of their the demolition of music venues Independent on Sunday in 2003 as out in one or the other, getting to one of the top 20 ‘most influential work – as well as a production of The 1940s and 1950s saw a number such as Soho’s and Articles in The Guardian in 2017 know the musicians and the jazz Alfred Jarry’s Ubu Enchained, with of relatively short-lived jazz clubs there are fears that demolitions ask whether London is no longer groovers and shakers in the music scene, and seeing musicians like music by The and and Soho became the centre of the as part of the second stage of the the place to be, citing research industry’, and awarded an OBE for , and visuals by artist Mark Boyle, he who and folk revival movements project could ‘permanently blight’ which seems to suggest a net loss services to jazz in 2014, Cumming Hank Mobley. had started the trend for psychedelic in the 1950s, while the 1955 Soho Soho’s historic entertainment in migration in every age group was described by British saxophonist liquid light shows. Cumming had Anita O’Day singing ‘Tea for Two’ Fair would see the first outing by district. As Ross Dines of Soho’s apart from people in their twenties in 2016 as ‘a force been involved with the Traverse prior at the Newport Festival, 1958, from trumpeter Ken Colyer’s New Orleans PizzaExpress explains, the Crossrail due to London’s ‘bloated’ property majeure in the world of jazz.’ Yet to this, even running jazz gigs while 1960’s ‘Jazz on a Summer’s Day’ parade style Omega Brass Band. With project brings mixed blessings prices. Interestingly, and perhaps his early work was in theatre rather still at school in the Theatre Bar. clubs like Ronnie Scott’s (opened for his venue. On the one hand, it remarkably given the dismal nature than music specifically. 1959), the Old Place in Gerrard Street, will bring more people – no doubt of some of the above narrative, for Born in 1948 in Edinburgh, Cumming Cumming then moved to London, the , Studio 51, the Flamingo, welcome following the significant the London Jazz Festival at least, took a life-changing gap year rather where, demonstrating his the Marquee, and the Little Theatre loss of passing once Dean central London still appears to be a than heading straight to university adaptability, he spent six months Club, and record shops like Dobells Street was blocked by the Crossrail prime location for jazz gigs – this is after school and went to work in the West End doing Victorian and Collett’s, Soho was a real jazz construction site – but at the where people expect jazz to be heard. for Edinburgh’s Traverse Theatre music hall as the Players’ Theatre’s hub from the 1950s on. PizzaExpress’ expense of interesting small local From just one venue in the first Company. In those days – the 1960s resident electrician, and earning jazz club opened in 1969, later businesses disappearing and the Festival of 1993, to five in 2015, for – the Traverse was a hotbed of extra funds by moonlighting for promoting the Soho Jazz Festival, risk of losing what he politely terms now Soho still appears to be the hub experimental theatre and brought other theatres like the Royal founded and directed by Peter Boizot the ‘bohemian naughtiness’ Soho for jazz in London. him into contact with avant-garde Shakespeare Company and the from 1986 to 2002. once had. theatre groups like New York’s La . Ronnie Scott’s

13 14 CHAPTER 2 1983 poster for African In Britain jazz festivals come in three Sounds!, celebrating Nelson Mandela’s 65th “ types: a series of indoor concerts, a birthday, featuring stars temporary stage set up for a few days like , stage managed by in the middle of some enormous field John Cumming or stadium – and Bracknell.” DAVE GELLY, THE OBSERVER, 1984 BRACKNELL JAZZ FESTIVAL, 1975-87 Inspired both by the classic film As the festival developed, Cumming of Newport Jazz Festival, 1960’s began to think of Bracknell as a Jazz On A Summer’s Day, and by space for looking at where the music his teenage experiences at the was going, ‘where we were being National Jazz Federation’s festivals led.’ Focusing on British composers, at nearby Richmond and Windsor, he also started to commission new Cumming started the Bracknell Jazz work, an approach drawing on his Festival in 1975, with festival-goers experience in theatre. Commissions Cumming later returned to him starting to look at what he Later there was politically motivated invited to camp in the mansion’s included Stan Tracey’s Bracknell university in Edinburgh and became could do in music. He was one work too: working as stage manager extensive grounds. In a neat Connection in 1976 and the all-star involved with both the student jazz of the founders of PLATFORM in for Rock for Jobs gigs in the later historical loop, the National Jazz performance of Graham Collier’s society and the dramatic society, Edinburgh, ’s first Arts 1970s, and major anti-apartheid Federation’s Harold Pendleton and Hoarded Dreams in 1983. his wife Margaret started coming Barbara Thompson in concert at and was also offered the opportunity Council-funded jazz promotion benefits featuring international stars Early in the festival’s history, to Cumming’s Bracknell Festival, Bracknell Jazz Festival, 1979. by the University of Edinburgh to organisation – taking musicians like such as Hugh Masekela in the 1980s. Cumming started to get to know the develop an old bar into a Fringe Graham Collier, , John These included African Sounds! at whereupon Harold told him that, work of the increasingly influential Rypdal was on ECM along with venue during the Edinburgh Festival, Stevens, and the ‘revitalised’ Stan in 1983, the 65th ‘This is a bit like our old festival.’ To German label ECM (Editions of fellow Norwegian, saxophonist Jan as well as spending summers Tracey to Scotland. birthday concert for the then still this Cumming replied, ‘That’s why Contemporary Music), which Garbarek, both of whom espoused working back in London. His artistic imprisoned Nelson Mandela. it’s here; because I used to come Cumming returned south in 1973 was looking to build up the live the label’s concept of minimalist and directorship of the dramatic society to those!’ Thus festival (and film of to work as the theatre director of Displaying considerable chutzpah opportunities for its musicians. Eurocentric jazz. Garbarek himself led to an entire academic year in festival) leads to festival, a trajectory the new South Hill Park Arts Centre at this event, Cumming had to And so he first booked guitarist created music described by jazz which he ‘really didn’t do any work at of the carnival. in the converted South Hill Park handle a council official who tried Ralph Towner to play in 1976, thus writer Stuart Nicholson in Jazz: The all’ because he was also running The mansion in Bracknell, Berkshire. to close it down over noise levels. It was not only the camping aspect beginning a long association with Modern Resurgence as projecting Pool Lunch Hour Theatre Club, a From October to March he ran He pointed out that it was unlikely of Bracknell and its greenfield both Towner and ECM’s Thomas the ‘stark imagery of nature near the theatre for new writing in Edinburgh a small repertory theatre at the that the official would want to be proximity to London that had been Stöwsand, later of Austrian Northern Lights’ with ‘an ordered he had opened in January 1971. centre, but in the summer, the the one to have to face Greater inspired by the Pendletons’ festivals, agency Saudades Tourneen, which calm in the often frantic world of As well as running jazz and folk whole venue was turned on its head London Council’s head of culture however, but the programming represented artists like the Art jazz.’ By now, Cumming was working sessions, the Pool began to receive and went from, as he put it to us, Tony Banks the next morning as too: what had struck Cumming at Ensemble of Chicago and . freelance and tour-managing artists Richmond and Windsor in the 1960s Scottish Arts Council funding, ‘doing lots of things in small spaces ‘the man who shut down the anti- Although Cumming left South Hill like American pianist Carla Bley – an was the focus on British artists and working with dramatists and to doing a few things in big open-air apartheid gig’, and, to make doubly Park in 1977, he continued to run artist whose work he has presented the relative lack of American artists directors like Chris Parr, , and tented spaces.’ sure, threatened to call Banks right the Bracknell Jazz Festival on a many times over the years, at the David Edgar, Howard Brenton, and there and then: ‘I’ve got his number on stage. While in the very early days London Jazz Festival and more With their gardens, lawns, trees freelance basis, alongside other Scottish writers such as Stewart and will just ask him what he thinks’, of Bracknell, British did extensively – and Charlie Haden, and two lakes, the grounds thus music and theatre projects, which Conn, Robert Nye and Hector knowing full well that he didn’t feature – musicians like , which enabled him to travel around became the location for large-scale included putting on the first British MacMillan. Cumming was by now actually have the number on his George Chisholm, and Humphrey Europe and learn about the ways music events featuring an eclectic performance of Norwegian guitarist part of an active network of people person. Whereupon the official said, Lyttelton – the Bracknell bill would jazz was developing in different mix of genres and styles, anything Terje Rypdal at the Queen Elizabeth who were interested in combining ‘I don’t think that will be necessary’ later develop into a statement countries at that time. The contacts from BBC Radio 1 DJ Emperor Hall in 1979. Following the discovery music, visual art and theatre – he and left them to it. of international modern jazz: a he developed in the late 1970s and Rosko and Miki & Griff’s country of oil in 1969, had heavily worked as lighting designer for weekend festival which featured early 1980s are people Cumming and western evening, to comedian invested in its people and its arts, radical carnivalists Welfare State some Americans, quite a lot of is still in touch with today, and he and ventriloquist Rod Hull and Emu including jazz, and the apparently (including their collaborations with Europeans and other international cites the generosity of exchange of and (as he remembers it) a hilarious national or regional sound of what Mike Westbrook in the Cosmic musicians, and also included a large information about what was going on rock and roll evening with Wee would become known and marketed Circus), IOU Theatre Company, number of British artists. musically as playing a key role in the Willy Harris. as the ‘Nordic tone’ was starting and Lindsay Kemp, which led to to spread. development of his festivals.

15 16 CHAPTER 2 Bracknell Jazz Festival site plan from 1981 programme Camden Jazz Week, 1974 programme Camden Jazz Festival leaflet, 1983

CAMDEN ’s African drum JAZZ WEEK ensemble performing at the 1981 1974-92 Camden Jazz Week . Discount jeans Around the same time as Bracknell, store Dickie Dirts was the main the Camden Jazz Week was also sponsor at the time. becoming established, both festivals later distilled into what would become the London Jazz Festival. As Helen Lawrence shows in her history of St Pancras and Camden Festivals, Music, Art & Politics, the borough of St Pancras was merged with and to form Camden in 1965, meaning that what had been the St Pancras Arts Festival was renamed the Camden Festival in 1967. While jazz was still not a major part 1975 onwards. Described as a Cumming worked for the Jazz of the music festival proper, in 1974 ‘spectacular feast’ by Lawrence, Centre Society for a year as a The new festival’s programming it had been chosen as the theme for Jazz Week featured leading jazz concert programmer, and was Making a considered statement that between African-American origin continued to be mostly classical jazz music was now pan-cultural, and national – in this instance, the autumn festival, which included, musicians, films, poetry, a series of brought in to produce the Camden music and opera, but lunchtime among others, Mike Westbrook’s free events, and marching bands, Jazz Week in 1978, which he then not only (African-)American, in 1981 British – musical expression. Over jazz at the and Citadel/Room 315 for the opening the latter causing the street drinkers ran on a freelance basis. At the Cumming programmed American the years, Bracknell would feature poetry and jazz at gig, a revival of Stan Tracey’s outside tube station same time he worked on festivals flautist and composer James a host of other transatlantic names Hall were also incorporated into the Under Milk Wood, and a sell-out to rise to their feet and dance as in places like Bradford and Newton’s wind quintet – featuring and styles including , programme that year. By 1971, the ‘heritage’ musicians like ‘Red’ , , concert by the South African Chris they heard the band. Sheffield, and tour-managed for festival had been divided into three McGregor’s , Brotherhood the Contemporary Music Network Callender, who had taught bass , , Jazz Week was presented in sections: the main music festival in of Breath. The latter meant that (CMN) – the Arts Council of Great to Charles Mingus – with Chico Barbara Thompson, David Murray, collaboration with the Jazz Centre spring, a series of neighbourhood the organisers had an instant and Britain’s high level, highly subsidised Freeman’s band, and in the middle , Mike Westbrook Society, as one of its key annual festivals throughout the summer, substantial ticket sale to the South touring circuit for avant-garde put free British saxophonist Evan and a young , as well activities in its ultimately doomed and an autumn themed festival. African secret police, who all turned music – including the first Parker, thus connecting the new as introducing European musicians campaign to establish a national up at the concert looking exactly like UK tour in 1978. (Interestingly as music of the black avant-garde to hitherto unheard live in the UK – Jan A couple of years later, the festival centre for jazz in London. Unlike South African secret policemen, with a side note to this story of jazz Mingus via Callender, while also Garbarek a prime example. By the hit a low point due to decreased Bracknell’s open-air tented affair, regulation thick Boer moustaches, festival development in the capital bringing in the new sounds 1980s, then, the jazz madness of funding and a feeling that its focus Camden was a series of concerts heavy beige trench coats, and heavy city, the CMN’s brief from the Arts of Europe. Beaulieu had become redundant on high arts had what a Community in existing urban venues, like the brogue shoes. As Christopher Council explicitly aimed ‘to avoid the for what The Observer described Arts Working Party report described , the Camden Centre Dave Gelly pointed to the important Gordon recalls, because nobody else over-concentration of this type of as Bracknell Jazz Festival’s ‘slightly as ‘little relevance for a large and the , the model that developmental role of the Bracknell in the audience looked remotely like work in London, and to spread the folksy garden party’ atmosphere, at proportion of the population.’ With would be adopted in due course by festival in The Observer in 1984, that, ‘it was really funny that they opportunity for it to be heard.’) which festival-goers were ‘not the the support of councillors and local the London Jazz Festival. Among remarking that it ‘provides the best were quite that obviously sinister kind to cause a riot’ as the music musicians, the expansion of the the many jazz musicians who Cumming and partner John Ellson possible chance for hearing just and yet clearly incompetent at the ‘simply doesn’t attract gangs of festival into jazz was developed by performed were , Chet would go on to establish Serious how far British jazz has come since same time.’ break-in yobboes’ any longer. Camden’s Arts Officer at the time, Baker, Trevor Watts, , Productions as a tour production the days when our musicians were Christopher Gordon, along with judged by the accuracy with which Secret policeman’s ball aside, the ’s Brass Project, the company in 1986, and run it together Charles Alexander from the then- success of autumn’s Jazz Week World Quartet, Abdullah for the first decade. the they copied American originals.’ As active Jazz Centre Society, who had with other jazz festivals in Europe, and the Jazz Band Ball saw them Ibrahim (Dollar Brand), and the first company which subsequently known John Cumming in Edinburgh become a permanent fixture of performance in Britain by the Art evolved into Serious, producer of the festival was becoming a key site in the mid-1960s. for the complex negotiation in jazz the main Camden Festival from Ensemble of Chicago in March 1979. the London Jazz Festival.

17 18 CHAPTER 2

Poster for Contemporary Music Front cover of Ally Pally ‘97 Advert for Capital Jazz Festival 1982 Network leaflet for John Surman’s programme (Capital Radio Jazz in its temporary home at Knebworth Brass Project, 1984 Festival), organised by George Wein Park (1981-2)

LOOSE TUBES In a major shift of creativity and One example of the New Jazz Ronnie Scott’s. Many of its members activity, though, to its own surprise of course was the went on to have successful careers, perhaps, in the early to mid-1980s collective, established in London with ex-members like Bates, Tim British jazz began to experience a in 1984 as a 21-piece co-operative Whitehead, and Eddie boom which led Richard Williams ensemble by several musicians who Parker all performing (in other in to write that ‘the new had formerly been members of a guises) at the London Jazz Festival generation of British musicians workshop led by Graham Collier in over the years, and a triumphal is responsible for the healthiest 1983. As Jazz Centre Society director reunion concert to mark the band’s complexion the London scene has (1973-82) Charles Alexander recalls: 30th anniversary of formation at worn since the end of the sixties.’ ‘Loose Tubes were the signal that Cheltenham Jazz Festival in 2014. The Wire, an influential new jazz and the younger generation of musicians As John Cumming puts it, the black- improvised music magazine founded were taking responsibility for finding white binary in the new British jazz As well as having the contract to THE NEW We achieved varying degrees of in 1982, was also energetically their own careers and creating their in 1980s London was exacerbated by run Bracknell and Camden, one success, but never captured the making and championing the new own situation.’ the press into an ‘artificially created of the ways in which the company JAZZ OF spirit or momentum of what we had jazz zeitgeist. sort of standoff’ between the young, The predominantly white band’s developed in its early days was by THE 1980S at Ally Pally. predominantly white Loose Tubes taking on much of the production Partly, the new interest in jazz in the influences were eclectic – rock, Changing its name to the JVC and the young, predominantly black work for the CMN, which enabled The year after Cumming’s initial 1980s was because jazz collectives varied ethnic sources, and all Capital Radio Jazz Parade London in . Serious to work on large-scale involvement with the Camden Jazz dubbed the New Jazz had suddenly styles of jazz, with 1984, this festival was tied into the international work, such as George Week, a significant and high-profile became popular and synonymous particularly inspired by the music other JVC jazz festivals in both the Russell’s Living Time Orchestra, American-led jazz festival started in with style, with a number of young and musicians of ; his United States and across Europe, which then fed back into their July 1979 at the Alexandra Palace British artists playing challenging 1985 composition Säd Afrika, for and also linked to the Nice Jazz festivals and other activity over in London, the Capital Radio Jazz but accessible jazz getting major instance, featured South African Festival and The Netherlands’ North the years. Festival at the Ally Pally, organised deals. There was even sounds such as tin whistles, by Newport Jazz Festival’s George Sea Jazz. As Cumming remembers major chart success for some: fanfares, , and the kwela In addition to producing concerts Wein. However, the night before the it, Wein’s festival was mostly the new band Sade, groove. (It is worth noting here that for external clients, Serious second Capital Radio Jazz Festival parachuted in with Americans, with featuring Nigerian-born English Django Bates was the keyboard Productions also took on a couple of was due to take place in 1980, the occasional appearance of Ronnie singer Sade, had hit singles and player with Hugh Masekela at the management clients including one the Alexandra Palace burned to Scott or in London. on both sides of the Atlantic, afore-mentioned anti-apartheid gig of the ‘golden generation’ of artists the ground (taking with it the two On the whole, then, the beginning and won and at Alexandra Palace in 1983.) who developed in the UK during Bösendorfer Cumming had of the 1980s offered relatively few Grammys alike. the 1960s, John Surman, and Andy Loose Tubes achieved a relatively hired for Bracknell a few weeks work opportunities for British jazz Sheppard – who Cumming had first Though this was the popular end of high level of success in Britain as a later). In his autobiography Myself musicians in Britain as audiences come across at Bracknell in the jazz, it was a clear sign that things result of concert performances in Among Others, Wein recalled that: got older, money was scarce, and band Sphere – and who had returned were changing. There was and national tours, aided The fire had spread so fast that, festivals were few and far between. to England from Paris in the mid- jazz, , new black jazz, white by widespread television and radio had it happened the following As saxophonist Alan Skidmore said 1980s, having moved there initially big bands – even if it sometimes coverage, and became the first jazz night, many of our audience of five in 1981 in a familiar lament: ‘There’s because he ‘struggled less in felt that the senior musicians from orchestra to play a late night Prom thousand might have perished. We no scene for me in England as a than I did in London.’ the 1960s and 1970s, important in autumn 1987. Loose Tubes played were lucky, but it was the end of the professional jazz musician… now innovators and stylists, were at both Camden and at Bracknell Ally Pally festival. For a few years I just work in Europe.’ being left behind in the suddenly festivals, but disbanded in 1990 we tried to keep it alive… fashionable landscape. following a week-long residency at

19 20 CHAPTER 2 1987 Crossing the Border Festival programme, organised by David Jones

JAZZ WARRIORS COURTNEY PINE A second remarkable big band The media framing around race Speaking to Sue Lawley on BBC Having got to know John Cumming sprung up in London during the might have been unhelpful in that Radio 4’s Desert Island Discs in via the Camden Jazz Week and the 1980s jazz boom, of course. Jazz it encouraged a level of division 2001, Pine further explained the Community Music organisation, and Warriors formed in 1985 as an in the new scene, but arguably at reasons behind his decision to leave in recognition of his roots with the offshoot of TAJA (The Abibi Jazz least jazz as being written about the Jazz Messengers tour: Jazz Warriors, Courtney Pine first WORLD MUSIC Arts), a collective started the with enthusiasm and played Sue Lawley: It seems to me that you played the London Jazz Festival with previous year by Courtney Pine as with a new gusto. Jazz Warriors have unfinished business here. You Gary Crosby’s Tomorrow’s Warriors In June 1987, a meeting was held a non-commercial space for black carved out a space for young black want to put British jazz on the map. and iconic Jamaican singer/ in London between record labels musicians to play together. musicians and, according to Gary musicologist Marjorie Whyllie confronted with what was called Courtney Pine: Yeah. And it’s also Crosby, played a significant role in 1996. Pine progressed to playing a ‘marketing dilemma’ of how Jazz Warriors became the first the fact that the way we appreciate in ‘multiculturalising’ British jazz Courtney Pine performing with the Apollo in 1999, best to present and sell a diverse black British big band since those of music is different. In America, they because it encouraged interaction Art Blakey’s Jazz Messengers at and headlined in 2000 at the Royal range of music, variously labelled the 1940s and 1950s and, as such, have their superheroes like Wynton between black and white musicians Camden Jazz Week, 1986. Festival Hall. ‘international’, ‘ethnic’, ‘traditional’, its members were seen by many, Marsalis and . In and re-introduced a new generation or ‘roots’. This issue was particularly including Val Wilmer, as the ‘leaders the UK, we don’t really have kind of The connection with Andy Sheppard of black musicians to jazz. It was Courtney Pine who became pressing following the controversial of the country’s new jazz sensibility.’ superstar gig. So for me, I thought, is worth mentioning here – Crosby has maintained a crucial the star of the 1980s British jazz success of ’s Graceland Other members of Jazz Warriors well, there’s nobody doing that here Sheppard’s band of the late 80s element of music education and scene, however. Highlighting the previous year, with its included Jason Yarde, , so maybe I could maybe pick up included jazz development with further the international recognition of apartheid-era cultural boycott- Mark Mondesir, and Gail Thompson, that gig. and Mamadi Kamara of the generations in the subsequent his talent, and, according to The busting use of South African and although the personnel changed Jazz Warriors, and the following Tomorrow’s Warriors charity. Guardian, ‘a recognition accorded Sue Lawley: You saw a gap in musicians. over the years, the group continued band included the Warriors’ to very few British performers’, Pine the market? until 1992, having also played at both Claude Deppa. Sheppard has also Via a show of hands, ‘world music’ was invited to tour with Art Blakey’s Courtney Pine: [laughs] Yes, Bracknell and Camden. worked extensively at the London won the vote and so a new product Jazz Messengers in 1986. This I sure did! And I went for it! Jazz Festival, with the likes of genre was born and named. The For Hilary Moore, in her book followed performances at Camden In doing so, Pine helped to bring and Carla same year promoter David Jones Inside British Jazz, the band’s that year that also included other black music and black musicians Bley, highlighting the enduring started the Crossing the Border significance went beyond the members of the Jazz Warriors into the mainstream. ‘Without connections between musicians and Festival of World Music in Camden. purely musical as Jazz Warriors and three of the dance groups that Courtney,’ says Crosby, we wouldn’t the festival. In London, as elsewhere, The first festival featured Ali Farka became a ‘unique musical space’ in populated the UK jazz scene at the have broken out.’ Such a view was musicians make festivals, and Touré’s only London performance which the members could express time (filmed by Dick Fontaine for confirmed by Tomorrow’s Warriors festivals make musicians. at the time and a host of other and reassert their identification Central TV). graduate saxophonist Denys names from the folk and now ‘world as black Britons. However, as Pine had to return home, however, Baptiste in 1999: music’ fields, including Kathryn original member Gary Crosby because his first son had just been Tickell, Rory McLeod, and Lovemore recalls, ‘the Warriors were never Courtney brought jazz to younger born and his debut album, Journey Majaivana & The Zulu Band. It was exclusively black, though there was people through the music he to the Urge Within, had just been around this time that Jones started an unfortunate air of segregation introduced: hip hop, drum ‘n’ released. This 1986 recording to cross paths with John Cumming. around us.’ bass, and earlier on with reggae. enjoyed ‘unparalleled media hype’ He changed jazz from being a for a British jazz recording, and music for people in their forties, by the end of the 1980s he had fifties and sixties into music for a appeared at several international younger crowd. That is vital for the jazz festivals. development of jazz, and that’s what makes him such an important guy.

21 22 CHAPTER 2

FESTIVALS IN THE DAVID JONES CITY While John Cumming and John The first Festival was We can see the development of the The 1980s and early 1990s saw a Ellson came from the jazz world, opened and closed by the Michael creative role of the festival producer marked increase in the number Jones was from more of a rock and Nyman Band, Nyman being an artist at Camden Jazz Week. Describing of annual jazz festivals in the UK new music background, although first promoted by Jones in 1978 at Cumming in the Evening Standard overall; from ten in 1980 to around he too had been working with Mike the Institute of Contemporary Arts in 1990 as ‘the Jonathan Miller of forty in 1992, including Ealing, Westbrook – Jones’ passion is for (ICA) to an audience of 60, and later this year’s Camden Jazz Festival’, Brecon, Birmingham and the improvisation in its myriad forms. to 2,500 at the Southbank in 1993. the media were starting to notice the Glasgow International Jazz Festival, Born in 1957, the first concert he put creative input of the producer as a as the popularity of festivals as tools Jones had initially been wary of a on was Supertramp at his school in significant force in the success of an for local authorities to enhance career in music as in the early days, in 1973 as a teenager, and event and also the shift away from local identity and for ‘destination he ‘couldn’t figure out how you could he became manager of cult figure simply ‘promoting’ a musician to, marketing’ as well as cultural actually earn a living working in Ivor Cutler in 1976, working with him instead, ‘producing’ an event. regeneration gained momentum music.’ However, musicians he had until his death in 2006. throughout this period. promoted at the Bloomsbury Festival The Standard’s jazz critic Jack Before getting into music promotion, asked him for more gigs, ‘and I was Massarik explained to readers how In a globalised world, putting on Jones worked in both theatre and going, “I’m not a concert promoter; the jazz festival was beginning to be international festivals can be a television. After working at the that’s not what I do!” And then I actively curated: means of claiming equal status of Arts Centre – ‘cleaning looked around two or three years The novelty of simply filling jazz local culture by interweaving it with toilets in the morning and tearing later and I was a concert promoter.’ festivals with big-name artists and those of other countries; jazz, as tickets in the evening’ – he moved an inherently flexible and syncretic Soon he was running the production their regular working groups seems on to be the administrator of a music, is particularly suited to this. company Speakout. Jones was to be wearing off. Instead we now touring theatre company, which Indeed, UNESCO’s International never keen on the term ‘promoter’, find the ‘festival concept’ in which 1992 Outside In Festival leaflet meant a steep learning curve on Jazz Day (30 April) recognises or however, as it seemed like the producer/director aims to be how to master touring, budgets and certainly claims that the cross- Urban theorist Richard Florida has Bracknell mark 2, 1988-1993), and something ‘blokes in camel hair as creative as the performers out management. cultural, democratic nature of jazz argued that, for more than a century, others – London did not yet have the coats should be called’ and so, with front... It was [Cumming’s] idea lends itself to a ‘diplomatic role of the mark of a cultured city – in high-level jazz programming enjoyed Jones was pulled back into music Cumming, together they settled on to present John Surman and Jack uniting people in all corners of the the United States at least – was to by other capital cities in Europe after being asked to direct what the idea of a ‘producer’, ‘because DeJohnette with the Balanescu globe.’ Some academic research have a major art museum plus an at this time, a topic which was to became the Bloomsbury Festival at it has more of a sense of bringing string quartet and, after some on festival audiences (such as that ‘SOB’: ‘the high-art triumvirate’ of nag away at John Cumming. When the between creativity and creating something painful moments, the experiment by Steve Oakes at Cheltenham) has a symphony orchestra, an opera bumping into him at gigs across 1984 and 1987, for which he special’ in music. was successful. found that jazz enthusiasts are often company and a ballet company. To Europe, for freelance jazz promoter programmed outfield , well-educated, middle class and that, one could nowadays add the and later festival co-ordinator soul, contemporary classical, jazz, upper earners, and hence useful for jazz festival. By the early 1990s, Debbie Dickinson, Cumming’s big and a good deal of improvisation. attracting sponsorship. however, even with its fluid portfolio question was always ‘There are of local festivals in different parts of these jazz festivals all over the the city and environs – Bracknell, world; how come London doesn’t Camden, Soho, JVC, Jazz Lunacy, have a jazz festival?’ Ealing, Outside In (a kind of

23 24 CHAPTER 2 Front cover of The final Moving Forward Camden Jazz leaflet for Festival, 1992’ to November 1990

MOVING with and FORWARD Jack DeJohnette programme, 1992 By the late 1980s, it was becoming As noted by the Arts Council, what apparent that London had what Serious and Speakout had tapped the Arts Council’s Review of Jazz into and begun further to develop in England would describe as a was a substantial local and national ‘major gap’ in the city’s jazz concert audience for quality innovative provision as the bubble of interest contemporary music which did not around Courtney Pine, the Jazz fall into the traditional marketing Warriors, and Loose Tubes was categories of ‘subsidised classical’ or starting to deflate. Economically Importantly it also enabled Serious ‘commercial rock’. on the other, negotiating the funding closer as well. In the hustling spirit As Cumming said in 2013, ‘Camden it was getting tight again with only and Speakout to start to bring over landscape and its potentially negative of jazz perversity, then, was born the epitomised a changing jazz universe, Serious and Speakout understood the odd festival in the city through major American jazz musicians, and impact on adventurous programming. following year the inaugural reflecting the new energy emerging that the audience for jazz artists such London Jazz Festival. from the UK and European scene the year. To remedy this, between also gave them the confidence – In 1992, as a result of the recession, as Keith Jarrett or alongside the African-American 1989 and 1991, live music in London financially and psychologically the Arts Council had begun a period The economic climate and changes had as much in common with that of tradition of the music.’ For our story, was stimulated by funding from the – to do so. of belt-tightening. Jazz, ever the to local authority and arts funding Steve Reich or Michael Nyman as it too, festivals such as Bracknell and Greater London Arts Association’s Cinderella of the musical arts, as structures – including the dissolution Taking a risk, they put on Sonny did for musicians Camden were setting the scene for Major Concert Promotion scheme. had told us in his 1973 of the Greater London Council in Rollins for the first time in 1989 – such as or Sonny a more ambitious city-wide event book Music Outside, would find 1986 – affected both the Bracknell Both Cumming at Serious and and later Keith Jarrett. Rollins’ fee Rollins, the implication being then still. By 1993, then, the global city of itself the poor relation once more, in and Camden jazz festivals, and within Jones at Speakout had successfully alone used up all the funding for that these artists could be included in London was ready, even impatient, comparison with the public funding of , each came to applied to the new fund but decided the year, but they did make a profit. a concert series based around a jazz for its own major international required to maintain orchestras and an end. Festivals such as Bracknell that rather than competing, they Highlighting their relative naiveté, theme, and that jazz musicians could jazz festival, based on the central opera houses. In fact, though, the and Camden, however, had played should instead work together and David Jones laughingly recalls form part of a wider programme. tenets of musical pluralism, a make better use of the money by asking Sonny Rollins for a medical domination of public funding for significant roles in keeping the British Notwithstanding the economic celebration of multiculturalism, co-promoting. A relatively small certificate so that they could get would have some jazz scene vibrant. and ideological shifts in terrain and an emphasis on learning and annual subsidy enabled Serious and insurance for the show: unexpected benefits. and cultural policy that were such They contributed to changing the developing audiences in an effort Speakout to start Moving Forward, I just sent a note to his wife saying, a feature of the 1980s and 1990s, It led to jazz being grouped together programming of jazz festivals in Britain to ensure the future of jazz. For which became an extensive series ‘Please could you ask Sonny to go such programming might also have with improvised music and ‘world to reach out to the ethnically diverse Cumming, as for the others involved of international concerts covering and get a medical certificate so greater leverage to access public music’ and, while it meant less communities of London as much in the London Jazz Festival’s pre- both jazz and contemporary music. that we can go and get insurance’ funding as and when it was available. money for these art forms, an as to import American jazz artists, history, it would have to be a case of From the Arts Council’s perspective and I was told very firmly that There is a curious and interesting unforeseen consequence was towards commissioning new music ‘the city leading the festival as well this was the first time that London Sonny Rollins has never given out a dynamic here: on the one hand the that the musical dialogue which and encouraging new collaborations, as the festival leading the city.’ audiences had had such a consistent medical insurance and never would! need for innovation in programming, had always been there historically a gradual embrace of European jazz, and regular concert series of making ambitious music newly between jazz and other ‘outsider’ and the inclusion of the newly-minted these musics. available on a regular basis, while art forms became structurally ‘world music’ genre.

25 26 CHAPTER 3

“ Where else can you get 100 years of jazz in 10 days?” JOHN CUMMING, DIRECTOR, PUBLICISING THE INAUGURAL LONDON JAZZ FESTIVAL THE BIRTH OF A NEW FESTIVAL AND ITS EARLY YEARS: 1993-2000 1993: THE FIRST LONDON JAZZ FESTIVAL

1993 was the year that Britain said, ‘No, the hell with it! Let’s call it resurfaced from recession, the year the London Jazz Festival!’ (This was that the city’s 50-year post-war also a practical move as another population decline was starting to North London Jazz Festival (aka Just reverse, and the year of the first Jazz) ran from 1989 to 1992.) In such London Jazz Festival proper. a moment of attitude and boldness something special is made, even – As we have seen, the impetus for especially perhaps – if a long-term a London jazz festival had been plan isn’t there from the start. The building for a number of years, but city pushed them along, dared them the precise origins of the London to do it, demanded it of them even. Jazz Festival can be surprisingly As Jones told us on looking back difficult to locate. London Jazz at the early festival and how it has Festival director David Jones grown, it just took off from that remembers that Serious Speakout moment: ‘It hasn’t been something were approached to put on a festival where we’ve said, “Let’s make a 25- in the north London boroughs of year plan and let’s be in this place Camden, Hackney and Islington, and by now.”’ John Cumming recalls having many conversations with the Music Officer The previous chapter showed Front cover of 1993 London for the new London Arts Board at how the London Jazz Festival Jazz Festival brochure the time, Andrew McKenzie, about inherited a kind of mix of Serious establishing a new festival which and Speakout’s other festivals – would eventually build into a city- Bracknell, Camden, Outside In, wide event. Cumming had thought Crossing The Border – which were to call the new event the North going through changes and which London Jazz Festival, but Jones were distilled into one.

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BBC Radio 3 advert on back THE FIRST Flyer for 1994 programme of 1993 brochure PROGRAMME at Bloomsbury Theatre Around this time, the Arts Council Illustrating both the festival’s new Also playing the Union Chapel was band, meaning that none of the was reviewing its jazz provision, musical mission statement and a double bill of American guitarist musicians touched the extensive and some of the regional jazz the legacy of the earlier festivals with the Quartet. – and expensive – post-gig spread organisations established in the on which it was built, highlights In those days, everything was laid on for them. ‘We’ve got a lot 1980s to stimulate jazz activity from the 1993 brochure included cash-based – bank transfers and of food here...’ said Cumming, across the country were now American saxophonist Bob Berg; online ticketing a long way in the mindful of the extravagant rider one struggling financially. Cumming, the North Indian classical music future. John Cumming therefore of his headliners had requested, recognising that his own of Salamat Ali Khan; Nigerian had £5,000 in the back of his car apprehensively but gratefully eyeing organisation’s receipt of the lion’s kora player ; South whilst driving home after the show. the Norwegian prawns. share of the London Arts Board’s African drummer Louis Moholo; Unfortunately, he took a wrong turn The 1993 festival line-up also jazz budget in 1993 was a ‘sore black British acid jazzer Ronny and was stopped by and included the showcase event, Reed, point’ with other potential recipients, Jordan; veteran British pianist Stan breathalysed. He had had one pint Rhythm and Rap at the Bloomsbury instead sought to argue that, with its Tracey; the idiosyncratic Ivor Cutler; of beer much earlier in the day, but Theatre, featuring a young Nitin variety of programming across all the Delta Rhythm Kings; South was, in his own words, ‘meticulously Sawhney, David Jean Baptiste, and jazz genres and scenes, the impact African pianist Abdullah Ibrahim; not drinking.’ The breathalyser . Sawhney has gone on of the new festival would eventually the World Saxophone Quartet; showed up as positive, however, and to have a long association with the help everyone. British mainstream and trad stars Cumming was taken to the police London Jazz Festival and provides Humphrey Lyttelton and Acker Bilk; station, where a second test One of the ways it would do this a useful exemplar to illustrate the Nat Adderley’s classic ; and proved negative. would be to attract significant media journey a young musician might take This distillation resulted in a potent John Stevens’ ‘rhythmelodic post- interest and, through Cumming’s There was a further snag, however, within the festival, first being paired combination which steered the new bop .’ ‘Where else’, said rhythmic minimalism, as well as existing relationship with the station in that the police needed to see with more experienced musicians festival’s musical direction and also Cumming to the Guardian’s critic new orchestral of via Camden and Bracknell, BBC Cumming’s ID, which he did not before headlining their own shows, meant that the borough of Camden John Fordham at the time, ‘can you some of Sawhney’s best known Radio 3 was a supporter from the have. He tried to persuade the and (hopefully) playing in bigger retained an interest (because get 100 years of jazz in 10 days?’ music and the world premiere of pragmatics , financially and start, while the festival guide that police that he was the director of the and bigger venues over time. In a new work commissioned by the organisationally). McKenzie had first year was a free supplement in The inaugural performance of London Jazz Festival, and in doing 1994, then, Sawhney was booked Britten Sinfonia. In 2015, Sawhney made it clear that he did not want The Observer and the magazine, the Bigger Band so, let slip about the £5,000 in the as the support act for guitarists was back again, performing as part the festival to become city-wide Jazz. The grassroots social Revue was another feature of the back of the car. This got the police Andy Summers of The Police and of the Jazz Voice opening gala at overnight, and by bringing on the engagement element of the festival’s 1993 festival, a smart piece of very excited, leading to a phone call John Etheridge, around which time the Barbican, alongside relative boroughs of Hackney and Islington funding showed in that in 1993 it was programming since Holland was to Cumming’s partner in the early Sawhney’s career really started newcomers like Jarrod Lawson and to join Camden, allowed it to build also supported by Hackney Drugs already a television celebrity by this hours. She managed to persuade to accelerate. veteran star Elaine Delmar. Prevention Team, among others. point and his inclusion in the festival the police that Cumming was not a out slowly. At the 1995 London Jazz Festival, he certainly gained some extra column master (or even a minor) criminal Another significant British musician took part in the third chapter of the Cumming recalls that one of the inches for the new event. and that he really was the director in the first London Jazz Festival Straight No Chaser Shape of Things conditions of the funding from the of the festival, after which he was was John Surman, whose Brass Another memorable performance, to Come event at Bagleys, alongside London Arts Board – later to merge finally released. Project at the Lilian Bayliss Theatre, with the other regional arts boards symbolising the enhanced status hip hop artists like Outcaste conducted by John Warren, was to eventually become Arts Council of British musicians previously Another prominent American (Asians with Attitude) and DJ Gilles reviewed in the as England – was that as well as the overlooked by home audiences in guitarist remains part of London Peterson. By 1997 Sawhney was ‘a uniquely English and folky form festival becoming a focal point for favour of what critic Ronald Atkins Jazz Festival lore for very different supporting Asian Dub Foundation at of big band jazz’, with Warren’s bringing high-level international jazz termed the ‘American mystique’, was reasons. At this point, said guitarist the Royal Festival Hall, and by 1998 Ellingtonian new compositions, into the city, it would also draw in the the dual billing of American guitarist and his band appeared to have was himself headlining the Queen ‘rounded off with an extraordinary grassroots of the scene in order to with Britain’s own Martin fallen out, so rather than travelling Elizabeth Hall. based on the music Taylor. Together they played to a in the bus with the band from the celebrate and highlight the fact that Exemplifying Serious’ eclectic hall refrain “My old man said follow packed and hushed audience in the airport, the guitarist travelled in London was a year-round jazz city. approach, in 2004 he performed the van.”’ In ways like these a church-cum-homeless-shelter-cum- the battered Volvo that Cumming with the Britten Sinfonia at the creative quirky transatlantic vibe, music-venue, the Union Chapel – the had organised to get himself Royal Festival Hall, mixing up dialogue, sometimes even clash, musical pairing and the choice of home, subjecting Cumming to a classical, jazz and world music in became one of the hallmarks of venue too adding a sense of occasion. wide-ranging rant all the way to a programme of music ranging the festival. the hotel. Perhaps unsurprisingly, from the Bollywood sounds of A.R. the guitarist left straight after the Rahman through to Steve Reich’s gig, and so – separately – did the

29 30 CHAPTER 3

A LONDON DANCE MUSIC FESTIVAL IN THE 1990S Since it is situated in a global and working with music education and The late 1980s and early 1990s Camden was the epicentre of the multicultural city, from the start the community education... So in a were a vibrant time for club-based new acid jazz scene, with clubs like festival has tried to reflect London’s sense, the mission statement was dance music in London, a new Dingwalls and the international nature and include its that the festival is about London, but subcultural scene shot through with playing a central role, as did Soho’s different musical cultures within it, London is also about the festival. the entrepreneurialism of the times. Wag Club and Hoxton’s Blue Note as well as offer opportunities for During the 1980s, a resurgence of (fka Bass Clef). Cumming recalls Ronnie Scott’s, the Jazz Café and the those sounds to speak to and mix pirate radio stations – from tower taking American pianist Vortex were just some of the clubs with each other. blocks rather than from the offshore to successive Monday nights at the gathered under the 1993 umbrella. ships of the 1960s – gained large Wag Club to watch the kids dancing In Cumming’s view this is because: Serious Speakout’s office was in audiences. There was pressure to – and to dance themselves – to Art The festival is about London Soho at that time and shared a fire grant more broadcast licences, and Blakey records, Taylor enthusing as much as it is about jazz. It’s escape with Ronnie’s, meaning that so in July 1989, that ‘There’s nothing in New York about how this fantastic evolution it inevitably became a musicians’ Broadcasting Authority announced like this!’ of music in the nineteenth and ‘hang’ during the day. Both that the Greater London FM licence At the same time, black British twentieth centuries has had a Cumming and Jones remember would go to London Jazz Radio, later music in London had evolved into worldwide impact and has an that the new festival had to be put Jazz FM, which along with dance a thriving jungle and drum ‘n’ bass impact on a major city like London. together early in the day before they music station KISS FM caused a scene from the lovers’ rock, reggae, were taken over by the socialising ‘marketing revolution’ for London’s However, in a city with a population and sound systems of the 1970s demands of the local musicians. clubs, labels and magazines. approaching ten million, the question and the of the 1980s. quickly becomes: how to make a To the north east of Soho’s jazz hub, The London Jazz Festival 1993 By 1991, Jazz FM’s Somethin’ Else As writer Lloyd Bradley explains, major impact with what is seen as a The Vortex was then at its original show with Jez Nelson and Chris the success of bands like Soul II minority genre of music? The answer location in Stoke Newington, its Phillips was on every night from Soul ‘expressed black Britishness the festival has come up with is via line-up in the 1993 London Jazz 10pm to 2 or 3am, a show aimed at in a way that contributed hugely to a series of evolving partnerships, Festival including a Blow The Fuse young, fashionable club-going jazz culture as a whole’ and meant that developed and enhanced through collective night, Annie Whitehead, fans, including records, interviews during the 1990s, ‘the audience Serious’ year-round work across a and the Vortex Superband featuring and live broadcasts from London’s for a much broader spectrum of range of musics with jazz, the spirit Dick Heckstall-Smith. Linking jazz venues. Along with DJs Gilles British black acts was ready and and practice of improvisation, at right back to Peterson’s and Patrick Forge’s acid waiting.’ A number of Asian bands its heart. and the National Jazz Festival jazz nights, the show became one of and musicians such as Apache and joining the dots between jazz, We can see this effort at partnership the ways in which jazz made its way Indian also started to attract reggae, , and , Gary from its earliest days; the 1993 back to the dancefloor and brought national attention by 1992, and by Crosby’s Jazz played at the festival brochure’s list of partners, jazz to a younger audience. mid-1995, a number of Asian clubs Bloomsbury Theatre, and featured for example, includes Assembly had emerged in London, including ‘Rico’ Rodriguez, Michael ‘Bammi’ Direct & Community Music, Mohabhat and Outcaste. Rose, Eddie ‘Tan Tan’ Thornton, Jazz Rumours, Jazz Umbrella, and Crosby’s uncle, ppArtnerships, Secret Spaces, and – who had been resident guitarist Somethin’ Else, while the 1994 list for a while in the house band at includes Blow The Fuse, London Ronnie Scott’s in the mid-1960s – Musicians’ Collective, Weekend Arts all supported by saxophone star College and Grand Union. Andy Hamilton, from Jamaica via Cumming again: Birmingham. Coming from a very For the festival, we wanted to use different end of the jazz spectrum, all that and distil it into the venues Brazilian fusionist was Advert for The Shape of Things that we work with, large and small, supported by DJs from the Latin and to Come event, with Straight with the other promoters in London, African club, Mambo Inn, No Chaser with the musicians in London, with making a rare appearance north of communities in London that were the river.

31 32 CHAPTER 3 25 years of David Sinclair’s jazz photography celebrated in an exhibition as part of the 2015 1986 film about Soho Jazz Festival London Jazz Festival

The London Jazz Festival cleaved Festival was as much about London to dance music from the start, a as it was about jazz, and in its legacy from the festival’s roots in choice of location, also highlighted progressive Camden, the Arts and the increasing importance of East Leisure Department of which viewed London as a cultural destination. the night-time economy as pivotal By the end of the decade, the NOT JUST A in terms of the borough’s cultural festival’s inclusion of dance music MUSIC FESTIVAL provision. As well as two Friday night showed no sign of abating. Ninja Drum ‘n’ Bass Club events at the HQ Jazz on film – still and moving – stretching all the way round the a silent film about the life of Louis Tune’s played at the Club, that first festival in 1993 also has formed a part of the festival curved inner walls of the Armstrong and the birth of jazz, Shepherd’s Bush Empire on the featured events promoted by Jez since the early days, forming iconic venue. with a score composed by opening night of the 1999 Festival, another strand by which jazz has Wynton Marsalis. Nelson’s Somethin’ Else production/ Moving pictures have also featured featuring the multi-talented, multi- been mediated and re-presented promotions company: the London since the early days. (To acknowledge More recently, a raft of new films deck turntablist DJ Kid Koala and to generations old and new. Jazz Bop at the Forum with Peterson a more significant achievement about jazz – whether documentary Cabbage Boy. Even superclub Fabric The first festival in 1993 used and Nelson DJ-ing; and the first here within film and jazz festivals or feature – have found their place was brought into the programme 20-metre high images of jazz Shape of Things to Come night also in London, there is great interest at the festival. In 2012, what became that year with an event called musicians like Gary Crosby and at the Forum. The latter featured, to be had in watching the feature- for The Guardian one of most The Fusion Principle: It’s Time, projected on to among others, pianist length documentary film of the first uplifting and transcendent shows of a club night which celebrated St Pancras Station to announce its and South African-born pianist/ Soho Jazz Festival from 1986: Ten that year’s festival was : contemporary . arrival, while the following year saxophonist Bheki Mseleku, and was Days that Shook Soho. Produced The Great Flood, in which the there was an exhibition called a co-production with British dance Fast forward to 2015 and the for at a time when guitarist provided a live soundtrack Shooting Stills at The Bloomsbury music magazine Straight No Chaser. influence of dubstep, hip hop and television was very interested in to Bill Morrison’s documentary Theatre, a collection of work from drum ‘n’ bass could be heard in jazz, it contains some great footage about the catastrophic 1927 floods Dubbed ‘Way Out East’, the festival’s photographers such as Gered the music of , Moon of live performances – from old and that engulfed the Mississippi Delta. 1996 opening night party a few years Mankowitz, designed to reinvent Hooch’s saxophone-led dubstep and new generations alike – but also a later headed downstream to the K-R the jazz image. To a soundtrack which took a sonic acoustic , and sense of Soho street life is on view (in Warehouses at the Royal Victoria journey from blues to bluegrass, trio GoGo Penguin, the latter’s Fastforward and jazz photography which jazz and the sex industry are Docks for a show across three from to Americana, gospel yearning melodies and resonant and film are now an established part firmly interwoven), and some of the warehouse spaces, featuring Groove to R&B, the film showed that seventh chords filtered through what of the festival’s programme. The backroom scenes of negotiation and Collective from New York, Nils Petter even ‘amidst the biblical horror, the Daily Telegraph describes as work of one of jazz in Britain’s most organisation are priceless.) Way Out East - London Jazz Molvaer from Norway, ‘intelligent what shines through is mankind’s the ‘seething dance energy’ of the celebrated photographers, David Festival 1996 opening party drum ‘n’ bass’ producer LTJ Bukem In 1994, for example, the London resilience.’ Other new films have bassist’s and drummer’s skittering Redfern, was featured in a new – a classically trained pianist who Musicians’ Collective presented a included Dick Fontaine’s portrait of drum ‘n’ bass rhythms. In 2016, one exhibition at the Southbank in 2013, had once been in a jazz-funk band ‘latter day Beat journey’ with film, Sonny Rollins, Beyond the Notes, of the giants of the electronic scene, alongside the work of emerging – Ninja Tunes’ artist Chris Bowden, video, text and from Lee screened in 2012 (Fontaine also St Germain, featured in the festival, photographer, Edu Hawkins. In and other acid jazz drum ‘n’ bass Ranaldo of Sonic Youth and New made the film about Art Blakey at bringing his mix of deep house, 2015, 25 years of the dynamic black artists and DJs from 9pm until 3am. York film-maker Leah Singer. In the Camden Jazz Festival), and the African sounds and jazz to the Royal and white jazz photography of In doing so, Serious again set out 2011, the programme included the UK premiere of the feature film Festival Hall. David Sinclair was celebrated in an their stall that the London Jazz European première of Louis, about and teaching, exhibition at the Royal Albert Hall, Whiplash, in 2014.

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A journalist, an author/publisher and an academic discuss Langston Hughes and jazz, Barbican 2015. L-R: Kevin LeGendre, , Prof Nick Gebhardt.

London Jazz Festival 1994 brochure, London Jazz Festival 1995 1994-1995: featuring black hackney carriage NEW VENUES, NEW SPONSORSHIP The spoken word has also formed with the label’s biographer, Richard with vocalists including David 1994 saw the London Jazz Festival By 1995, according to the Evening And the chairman could not believe a part of the London Jazz Festival Havers, while the twin themes for McAlmont’s sweet falsetto. Over at increase in size and scope, with Standard, the London Jazz Festival that this music was going on and since its inception, from the pre- 2016’s talks programme were jazz the Barbican the same year, Gilles venues now including the Southbank was a ‘star-studded and truly on and on, barely stopping, and show talk series – entitled Hear and the city and jazz in Europe. Peterson’s New Jazz, New Dance Centre, and, a couple of years later, international affair’, with the Financial when it stopped, there wasn’t a nice Me Talkin’ To Ya, after the classic event featured hot the Barbican coming on board as a The festival has included a number Times saying that ‘this is a good time break, there was more of it, and it 1955 oral history of US jazz book saxophonist, Kamasi Washington as venue in 1996 and as a producing of theatre and dance events over to be a jazz fan in London.’ 1995’s was going on and on and on and on – to the more lyrical conjoining of well as a brand new collaboration partner in 1997. These large state- the years, perhaps as a result highlights included Buckshot Le and on!’ When the concert finally jazz and poetry. The 1993 Festival, between Manchester trio funded cultural centres for London of both Cumming’s and Jones’ Fonque featuring Branford Marsalis, finished, the chairman got up and for example, included Groove, the GoGo Penguin and choreographer and for the UK have been absolutely backgrounds. In 1994, for example, Wayne Shorter, and George Russell said, “We’ve got to go now”, and Ken popular and long-running jamming Lynne Page; the double bill for key to the success of the London Jazz the Bloomsbury Theatre hosted a and the Living Time Orchestra, the Clarke said, “Oh no, I want to see session at the (then) WKD Café The Guardian ‘proof that jazz is Festival. It needs the concert halls performance of Kate Westbrook’s latter put on by – and highlighting the band!” in Camden Town, hosted by Steve still very much a living, breathing, for the big acts but it has also taken Even/Uneven – Skirmish Music Serious’ continuing links with – the Swindells, and featuring poetry and evolving form.’ advantage of the spaces beyond the So they went backstage and [Ken] Hall, a premiere performance Contemporary Music Network. prose with jazz rhythms performed concert halls to expand the festival was such a charmer, ‘I love your of Westbrook’s new venture, One of the running themes of by The Hipsters. to include film showings, workshops, Also playing in 1995 were the Art music!’ [From the band’s point of performed by the seven-piece the festival programme over its and free stages – enhancing the vital Ensemble of Chicago, celebrating view] there was a major British In 2002, veteran Norwegian pianist Skirmishers against a backdrop of 25 years has been to tell the rich fringe-y buzz of the event. their 30th anniversary. In the politician in their dressing room Ketil Bjornstad was at the Purcell large charcoal drawings, theatrical history of jazz in different ways, audience was then Chancellor of talking to them knowledgeably about Room playing what The Guardian lighting and costume, in which from Troupers in Town’s History of 1995 was the first year that the the Exchequer, Ken Clarke MP. the music and they loved it! And they described as ‘deliciously minimalist Westbrook’s lyrics were combined Jazz at the in 1994 festival took place in November As director David Jones tells it, gave him a beer and they talked. settings’ of John Donne poems, with specially commissioned music through to WordTheatre’s And All rather than May, the decision to shift the chairman of the Board of the As well as the big American names featuring Aneli Drecker on vocals by jazz, classical and pop composers That Jazz Redux at the St James based to fit around the schedules had invited the just mentioned, the 1995 festival also and Punkt Festival’s including Mike Westbrook and Theatre in 2016. The latter show was of the funding bodies, which would well-known jazz enthusiast MP to featured a number of British stars. on electronics, while in 2005, Barbara Thompson. led by pianist James Pearson, and announce their decisions in March/ the concert, and so the Southbank the Royal Opera House’s Floral illuminated the story of jazz through April thereby leaving little time to For The Guardian, the programming In more recent times, Lush Life: chairman was seated next to Ken Hall hosted a night of poetry of the words and songs of musicians plan a major festival. (Of course, of the new festival signalled that ‘the the Songs of was a Clarke for a concert which lasted for the thirties, performed by pianist like Jelly Roll Morton, , something is lost in this shift; the winds of jazz tastes were changing theatrical tribute to the composer two hours and forty minutes, without Gareth Williams and vocalist Norma and . opportunity to re-sound the city in direction’ from the start, away from and songwriter in his centenary an interval: ‘ Winstone. 2014’s celebration of the warm early summer open air earlier ‘glitzy’ UK jazz festivals which year, in a show at Cadogan Hall 75 years of Blue Note saw writer with live music in parks and parading promoted ‘globetrotting American in 2015, devised by Alex Webb Richard Williams in conversation around the streets.) tours’ and towards a focus on British and European jazz musicians.

35 36 CHAPTER 3

WOMEN AND JAZZ One such was John Surman, In its early days, despite two or three The jazz scene in the UK A jazz festival cannot change the described by The Independent decades of second-wave feminism, tends to exclude women. For world but it can identify, articulate as ‘probably the only British jazz discourse could still reflect an women audiences, the sexual and put something in place to address jazz musician whose surname overwhelmingly male perspective. discrimination is mostly unintended critical questions of its own music. alone is capable of conjuring up – their needs are not considered. (For Cumming, however, the means While antithetical to the festival’s the gravitas associated with the For women performers the of effective delivery has to be carefully own viewpoint, Richard Liston’s great surnames of the past, like discrimination is perhaps more nurtured: ‘The aspiration is completely preview in the Weekly Journal of a Rollins or Coltrane.’ Other British deliberate. correct, but it’s important to support 1995 all-women festival concert highlights included Grand Union, the artist in a way that enables them encapsulates the problem: The London Jazz Festival and Mike and Kate Westbrook, and a to realise their potential’.) Serious have had a female director rare performance by Giant Steppes Take three attractive women since Claire Whitaker joined in Tomorrow’s Warrior pianist Sarah – Diane McLoughlin’s 17-piece pianists, put them on a stage and 1996, have appointed a number of Tandy spoke to us of some of the orchestra – featuring trombonist the phwooar factor is guaranteed senior female staff members over ways in which jazz as a creative Annie Whitehead, guitarist Deirdre to rise a few notches. This clearly the organisation’s history, and have music functions exclusively rather Cartwright and singer Ian Shaw. is a sexist observation but one which Nikki Yeoh, Jessica Lauren aimed to pursue a positive path in than inclusively: The 1995 festival was also the and Errollyn Wallen are resigned gender balance in programming for The thing about jazz is you develop first year that the Swiss watch to and aware of, although all would many years. Even so, the festival your craft by going to jams and maker Oris was on board as a rather it is their music that gets the has been criticised for not including being out of your comfort zone and sponsor, the following year taking adrenalin flowing. enough women in its line-up. sitting in and playing a tune you on title sponsorship until 1998, Indeed, an article by Masskraabel on don’t really know with musicians The issue of the gender imbalance this marking the point at which the the ImprovisingBigMusic website in that are a million times better than in jazz is a longstanding one, and, in festival had reached parity between 2013 talked of the ‘London (Men’s) you. And it’s generally a horrific all fairness, not one a solitary jazz public funding and commercial Jazz Festival.’ experience [laughs]… I don’t think sponsorship. The Oris partnership festival can address satisfactorily. This prompted Serious to analyse there are that many teenage girls impacted beyond the festival, As George McKay suggests in their programming and to take a that are that comfortable in putting however, as it also opened up the Circular Breathing: more proactive line in finding the themselves in that [situation]. notion of corporate sponsorship to The history of jazz in Britain is one next generation of talented female others in the field. The situation becomes self-fulfilling: of men supporting men, talking to musicians, artists like Laura Jurd, as McKay notes, one of the factors For Gary Crosby, for example, and writing about men, preserving Trish Clowes and Yazz Ahmed. The behind the lack of Oris’ sponsorship made him realise special male sociocultural spaces, commitment continues to expand is the lack of women to emulate. that he couldn’t just rely on the men listening to each other’s music – in the 2016 Festival, a celebration To counter this, Serious’ former Arts Council alone but had to and responding… men sharing of the work of one of the UK’s most associate director of production Amy bring in other income as well: ‘The instrumental secrets with each influential singers, , Pearce told us that a new behind- The Rough Guide to Jazz in London, 1995, produced by jazz festival was one of the first other, seeking structure or escape alongside important and established the-scenes strand to the 2016 Rough Guides and featuring London Jazz Festival listings companies I took notice of their in a 12- or 32-bar sequence, men musicians from abroad (Geri Allen, London Jazz Festival called Secret sponsorship deals. It opened my Dickinson had managed the all- clubs like the Red Rose and the helping each other break out of Terri Lyne Carrington and Carla Women’s Business would set out and others’ eyes to the possibility female Guest Stars collective in the Vortex, and to develop the festival’s rigid class expectations, small Bley), is balanced by the inclusion in to address the lack of role models and need for other ways to fund 1980s, and ran the development educational strands. Dickinson groups of men on stages watched, 2016 and 2017 of emerging names and mentors by giving younger our music and the arts in general, agency, Jazz Moves, set up to also ran the Women Take Centre listened to and envied by larger such as the UK’s Nerija and Camilla musicians the chance to speak to and with the increasing pressure develop venues, promoters and Stage festival, which took place groups of men. George, as well as, in 2017 the more established female musicians on the Arts Council and the BBC, exuberant all female Scandinavian touring networks for jazz in the during International Women’s Jim Smith, then of the Cheltenham and to inspire older female it’s the only way we are going to band led by percussionist Marilyn city. Jazz Moves had already Week, designed to promote and International Jazz Festival, went musicians by seeing the legacy of survive and keep standards up.’ The Mazur. If you are a major event in a been working in the boroughs of commission new work by women further in a comment in a 2001 their musical activity and activism. additional sponsorship provided by scene you bear some responsibility Camden, Islington and Hackney, musicians and composers as a Arts Council of England report Oris allowed for the employment of to shaping the culture and its and so Dickinson was brought in to response to the low number of on developing jazz audiences a freelance festival co-ordinator for future, not least when there has look after the grassroots aspects women on the jazz scene. to say that: the first time: Debbie Dickinson. of the festival, using the contacts always been an element of social she had already developed with engagement in your work.

37 38 CHAPTER 3 Advert for Oris London Jazz Festival 1998 in The Wire magazine

“ The jazz festival is dead: long live the ‘jazz’ festival.” THE TIMES, 1996

CLAIRE 1996-1998: WHITAKER THE ORIS YEARS It was also in 1995 that Serious first Whitaker then went on to become The early 1990s saw the death of The American dominance of jazz came into contact with the third development director at the some of the great American jazz was seemingly on the wane as young director of the organisation, Claire Southbank Centre in 1990 before greats: Art Blakey in 1990, Miles European musicians developed Whitaker, via her work with africa95, becoming director of africa95 in Davis in 1991, and Dizzy Gillespie confidence in their own jazz idioms, an African arts festival timed to 1992. She started working in South in 1993, and as the scarcity of the although as Nicholson suggests: reflect the optimism following Africa two weeks after Mandela’s big name American headliners There will always be a market in Nelson Mandela’s release in 1990, election where she helped to set up increased, so too, Glasgow Jazz Europe for jazz’s top headliners – a the end of apartheid in South Africa, an organisation called Business Arts Festival director Jill Rodger told us , a Wayne Shorter, a and Mandela’s subsequent 1994 South Africa (BASA), based on the with a smile, did their fees. Pat Metheny, a , a Keith election victory in South Africa. (The UK’s Arts & Business model, whose Attempting to fill their shoes stepped Jarrett and so on – but subsequent closing concert of the 1994 London patrons included Nelson Mandela in the likes of Wynton Marsalis, generations of jazz musicians, Jazz Festival was headlined by and Her Majesty the Queen. with his own neo-traditionalist especially young musicians the Elite Swingsters, marking the It was via africa95’s opening perspective on jazz history. For establishing their reputations, first ever British concert by these concert, however, produced by a critic like Stuart Nicholson, in are finding less job opportunities township jazz legends, bringing their Serious, that Claire started working his book Is Jazz Dead? (Or Has it in Europe as European musicians mix of the swing of big band with directly with David Jones. Once Moved to a New Address?), the jazz move into the space once occupied pulsating township mbaqanga.) africa95 had finished, Jones and mainstream in the United States by American musicians. Born in 1963 in Cheshire, Whitaker Cumming invited her to join Serious. between 1990 and 2005 saw the For musician Alex Webb, speaking the strength of the British scene by anniversary year, and France was initially wanted to study music at Whitaker became a new director in main area of jazz activity become in a 2010 interview about the 21st- featuring generations of musicians the featured country in 1998. As university but her father’s illness January 1996, working to enhance both conservative and imitative, century jazz festival: ‘It’s sad in a like Stan Tracey, John Surman, VAO’s Mathias Ruegg explains, prevented her from doing so, and the company’s development and rather than experimental and way that there aren’t any Mileses , Tomorrow’s Warriors ‘Some very big influences are so she went to work for NatWest fund-raising strategies, and leading innovative. [Davis] left – Sonny Rollins is with Courtney Pine, and Deirdre coming from Europe, especially from in 1982. She kept up her musical and developing a successful and perhaps the last one – but I mean Cartwright. those musicians who mix jazz with activities, though, singing in a choir consistently expanding learning and on the other hand there’s a hell classical or . People like and playing in bands, and after development programme, as well Conversely, as a platform for of a lot of other interesting things Jan Garbarek or Albert Mangelsdorff seven years in the bank ‘I really, as special projects such as Women introducing the extraordinary happening in areas of jazz… where it have created a special kind of really wanted to go back to music of Africa 1997, State of Play, and quality of European jazz to a British relates to other musics.’ language for European jazz. And so I wrote a six-page begging letter BT River of Music for the Cultural audience, the early London Jazz ? He was a genius.’ to ’, who took her Olympiad 2012. Claire was awarded To help promote Britain and British Festivals also featured national on in 1989. an OBE for Services to Jazz in the jazz around the world, for a long themes. Also in 1996, the Jazz Queen’s 2015 Birthday Honours time the London Jazz Festival had a From Norway mini festival (and List and a Gold Badge Award for a relationship with the British Council accompanying Norwegian sampler unique contribution to music by the as a platform for getting British CD) put a spotlight on musicians like British Academy of Song Writers, music beyond Britain. In 1996, for Terje Rypdal and , Composers and Authors; and has example, a brochure, produced by 1997 was the turn of Jazz From been named as one of London Mayor the Council, promoted the Jazz From Austria featuring the Art Sadiq Khan’s Cultural Ambassadors. Britain strand which highlighted Orchestra (VAO) in their 20th

39 40 CHAPTER 3

Asian Dub Foundation Jazz From advert for London Jazz Norway 1996 Festival 1997 brochure

CROSS-CULTURAL FUSIONS Thirty years after Time magazine’s John Harle and By now, The Times felt able to As these contrasting views from ‘Swinging Sixties’ headline, under the banner alongside more write of the London Jazz Festival The Times indicate, jazz festival Newsweek in 1996 labelled London orthodox candidates like Sonny that it had ‘begun to put its own producers are often criticised either as ‘The Coolest City in the World’, Rollins, , Mike stamp on the listening habits of for being too populist or not populist much of the excitement coming Westbrook and Michael Brecker. the contemporary audience’ to enough, too focused on the new or from the city’s mix of European and the extent that its programming not sufficiently innovative. In the UK, world cultures and its mix of the As the Evening Standard put it, decisions were being heralded as however, festival promoters can be old and the new. As Jerry White ‘Not everyone shares the Serious the future of jazz festivals in a world pulled in apparently contradictory explains in London in the Twentieth taste, but it’s always progressive and in which old stylistic distinctions strategic directions. As academic Century, 1990s London was booming rarely misses a contemporary beat’, were disappearing: ‘One type of jazz Steve Oakes explains, on the one ‘because young people had money an obvious example being what festival is dying; another is being hand they need to impress sceptical in their pockets and purses’ given The Times dubbed the ‘laudably born.’ Some, however, were less arts funding bodies by convincing an extra flip by the election in 1997 adventurous’ move to programme fond of the London Jazz Festival’s them of the artistic value and of a New Labour government more Asian Dub Foundation – who love increasingly diverse programming credibility of the music, whilst at the inclined towards spending (albeit via – and Nitin Sawhney at the of world music and fusion. same time are also under pressure public-private partnerships) than its Royal Festival Hall for the festival’s from the very same funding bodies Conservative predecessors. opening night in 1997. According to Another Times critic, for example, to increase accessibility by putting The Times, the event showed off the warned that: Feasibly, such economic optimism rich seam of talent running ‘from on music which appeals to a wider, The obvious danger is that the contributed to the success and Brick Lane to Bradford via Bengal more populist audience. Jazz festival For DJ Jez Nelson, many of the According to David Jones, subtleties and complexities of the ambition of the now Oris London and Baluchistan’ and was hosted by producers, then, walk a fine line great jazz festivals have become the reason the festival has been jazz improviser could be squeezed Jazz Festival, which by 1997 had Outcaste Records, the label at the between programming innovative pop festivals but they retain the able to do this is the tripartite model out by more populist and instantly grown to become ‘one of Europe’s forefront of the British Asian music music with niche appeal, and putting word ‘jazz’ because ‘it’s got a bit of of box office, state funding, and commercial forms – just as they leading new music events’, scene. It was not just the range of on big names who will guarantee sexiness to it.’ For him, the London commercial sponsorship developed were in the heyday of fusion mark according to The Guardian, with the venues and events, then, that was ticket sales and packed halls. Ears Jazz Festival is a ‘bloody good jazz by Serious, meaning that the three one. You do not have to be a cynic to ‘most wide-ranging’ programming attracting attention – by now, around on stalks or bums on seats. festival [and] they’ve done that pillars support each other without feel that some of the enthusiasm for of any UK jazz festival: 130-odd gigs – but also its reflection without including , in the need to over-rely on one world music arises from the quest Every year the word ‘jazz’ comes of what John Fordham termed in the main.’ income stream. for an exotic, package-tour version up for renegotiation somewhere, 1997 the ‘cultural energies aglow’ in of the lowest common denominator. but 1996 in Britain put it under London: from India, the Caribbean, particular scrutiny with November’s Africa, and Europe. Oris London Jazz Festival, which put Youssou N’Dour, ,

41 42 CHAPTER 3 Advert in Time Out for London Jazz Festival 1999 highlighting 1999: the diversity of programming AND NOW… BUT IS TOO MANY JAZZ FESTIVALS? IT JAZZ? In 1999, however, complaints about The debate as to who sets genre When it came to jazz festivals in the Although 1999’s London Jazz a watered-down programme were boundaries is an old one. For writer capital city, by 1997, extraordinarily, Festival hosted star north American louder than ever. Indeed, ‘thoughtful and critic Simon Frith, one of the Londoners had almost too much headliners including Branford sceptics’, led by Richard Cook, the on-going debates in jazz is whether choice. For much of the year, there Marsalis, , and Dianne editor of Jazz Review, even took to to define it canonically – by its seemed to be one every few weeks, Reeves, The Times still complained BBC Radio 4’s Today programme history, its great names, its stylistic while July alone saw, like a trio that, ‘at the London Jazz Festival, to ask how a jazz festival could conventions – or by its processes, of London buses, three coming now in its seventh year, the stars are give prominence to the likes of as music defined by improvisation along one after the other. With the smaller and the straight jazz harder reggae poet Linton Kwesi Johnson and experimentation. The London Soho Jazz Festival, Jazz On The to find.’ ‘without falling foul of the Trade Jazz Festival aims to cleave to Streets, the JVC Jazz Festival, and Descriptions Act.’ both definitions, but as Frith says the Oris London Jazz Festival as Indeed, in the late 1990s the festival in Performing Rites, genres are regular events, an article in Jazz producers found it difficult to Yet the introduction to the 1999 constantly changing anyway and UK magazine entitled ‘Will the real programme enough major jazz artists festival programme sought to jazz in particular is characterised London Jazz Festival stand up?’ went to fill the bigger venues available, address the question head-on, by a restless fluidity and curiosity so far as to suggest that jazz fans in but, rather than go down the route and justify its definitional and because of its improvisatory and the capital would be ‘bemused’ by of booking pop acts, they looked programming openness: instead to other musics. In an article hybrid nature. the number of jazz festivals on offer. The festival makes no definition of Perhaps, Jazz UK continued, the in The Independent the following Director David Jones has year, Cumming acknowledged what is jazz – it would be out of date various events should instead pool as soon as it was made. Rather it relished the challenge: their resources to form a ‘mega- that that year’s festival was light on the bigger American stars, but draws together all the strands that I think what the London Jazz bash’ the size of the Netherlands’ connect jazz to the broad spectrum Festival has done is to feed out to ? sought to present this as a positive development: ‘It’s a chance for people of contemporary music. the world at large a confidence that jazz is an important music and it However, Serious had their to see how the international jazz It seems this didn’t convince all: the has a place for engaging with any particular vision, aligning scene fits in the context of a major following year The Times was still other music it chooses to work with. themselves with the programming European city festival. It reflects the asking questions like ‘Jazz? What So I think we’ve managed to push of Bath Festival, the newly-launched way things are in London and how jazz?’, and the festival was receiving over a lot of boundaries and other Cheltenham Jazz Festival and the musicians are taking the music in ‘more than its fair share of critical people have gone, ‘Well, if they some European festivals with their exciting new directions.’ flak’ for its broad approach, leading can do it, so can we’... I don’t think ‘eclectic left-field programming The Independent to fight its corner: and outreach schemes’, rather His views on London would be there’s any festival left who would than the more ‘bar-and-brasserie echoed by Denys Baptiste, who The unashamedly catholic policy go, ‘You can’t do that – we’re a atmosphere of Soho’ and the a few years later described the of Serious, the promoters, simply jazz festival!’ ‘cavalcade of star names’ of July’s American jazz scene as having reflects the state of jazz itself. With JVC event, as Jazz UK characterised ‘got into this quagmire of tradition limited possibilities for vertical each. JVC bore the brunt of whereas London – England – is so progression since modernism criticism, being described in The cosmopolitan now [with] so much reached the virtual cul-de-sac of Times as ‘a conveyor belt of ageing more fusing of musical ideas than in the late 1960s, soloists going through the motions there is in America. They have this contemporary jazz – in parallel with as they waited for the next flight to fortress of the history of jazz but it most other arts – has responded by Nice or New York.’ JVC finally ended rarely moves on from there... expanding horizontally, reaching in 1997, thus marking the end of But for the music itself, there’s more out to related forms such as pop, a run of imported American jazz happening here.’ The point here is not classical, and world music, as festivals in London and leaving a to establish new jazz nationalisms, well as reappraising its own, space in the jazz calendar which the but to show how the festival was already widely disparate, London Jazz Festival would later fill. negotiating its own sense of place – traditions... To therefore insist (Interestingly, in 2011 a new festival London – and managing its relation upon some idealist notion of jazz was started by US promoters Live with a changing jazz landscape, and purity smacks of musical eugenics, Nation, originally under the name of then to think about what that would or aesthetic cleansing. the London Jazz and Blues Festival, mean for programming. now called Bluesfest.)

43 44 CHAPTER 3 Time Out’s take on London Jazz Festival 2000 from back of brochure

Jazz Jamaica All-Stars programme 2001

NEW AUDIENCES While jazz was having one of its That concept formed the heart periodic identity crises, London of both Serious’ and the festival’s in the 1990s was having a more award-winning new audience profound and bloody crisis of development programme, which its own. The murder of Stephen started in 1999 in partnership with London Electricity New Audiences Lawrence in southeast London in energy supplier London Electricity as part of London Jazz Festival 1999 a racially motivated attack in April to provide subsidised tickets and 1993 highlighted that the city had free transport to young people from Fusing ska, reggae, and jazz with still not yet fully come to terms deprived communities. classic jazz standards and Jamaican with its multiracial identity, and the For John Cumming, such schemes folksongs, according to The Times, report into the inquiry found that give access to people who would this ‘roof-raising’ gig of ‘music institutional racism existed both otherwise never set foot inside a impossible to listen to without in the Service place like the Royal Festival Hall, a smile on the lips’ got several and in police services and other and means that those audiences hundred people up on their feet institutions countrywide. ‘quite often create that edge of dancing on the ‘august’ carpets of they function also to remind all non-white, rather than the typical However, diversity is not just about Following the election of New enthusiasm that elevates a good the Hall. Londoners that public music 20% or fewer indicated in its annual ethnicity, but also about class Labour in 1997, areas in which concert to a great one.’ venues are intended for everyone: online survey. But as Gary Crosby (and disability and sexuality and (Apart from the festival, Serious’ Serious had been developing the concerts have seen the highly says, on the context of race and other identity markers). Indeed, as Performing at a memorable sell-out commitment is evident elsewhere. expertise like community cohesion unusual occurrence of 98% non- ethnicity, ‘We should all do more on McKay’s Circular Breathing reminds gig at the Royal Festival Hall as From 2004, and for some years and diversity in culture were white audience in the Royal diversity and audience development us, the media’s Jazz Warriors/ part of the scheme in 2001 were the following, the company organised becoming important strategic Festival Hall.) and London Jazz Festival’s Loose Tubes binarism in the 1980s rebranded, relaunched the Black Police Association’s government objectives. The programming, both commercial and jazz boom was as much about each All Stars, featuring Gary Crosby, annual Celebration of Life Concert Through new audience schemes, company’s emphasis on new educational, has done so much for group’s class status as it was about Juliet Roberts, Orphy Robinson, which celebrates the lives of young education work and free stages, audience development and widening us all.’ Even so, as Crosby observed their ethnicity. Andy Sheppard, , people who have died as a result Serious continue their effort to access was a strand championed of jazz generally in 2016, more could Annie Whitehead and Alex Wilson, of violent crime and features match the line-up on the stage by director Claire Whitaker, who did be done for both BAME (Black, and supported by ’ predominantly black British artists. and in the stalls to that of the not want ticket price to be a barrier Asian, and Minority Ethnic) and non- Badbone & Co. One of the aims of the concerts multicultural identity of London. To to less advantaged and neglected BAME audiences and musicians, is to build a better relationship truly reflect London’s demography communities. ‘because everybody’s struggling at between black communities both on and off the stage, 40% of the the moment.’ and the Metropolitan Police, but jazz festival’s audiences should be

45 46 2000 Courtney Pine programme

2000: THE NEW MILLENNIUM Furthermore, as Linda Wilks’ recent Jazz Festival audience that those As well as bringing new audiences By this time, as John Lewis put it It is therefore fitting that, in the The same year, the festival was work on audiences for black British who prefer standing venues – XOYO, directly into the festival, another in a feature about Pine’s musical first year of the new millennium, asked to join the International jazz shows, a high proportion of , Village Underground, KOKO important tool in the festival’s development in Time Out magazine, Pine headlined a festival which had Jazz Festival Organisation (which black attendees come from the – to seated clubs are definitely the audience development toolkit has the ‘propulsive hard bop beats’ of embraced and celebrated London’s had changed its name, and focus, higher socio-economic classes, younger end of the jazz audience, been via outreach and education the 1980s had been replaced with black musicians from the beginning, from the European Jazz Festival and her conclusion is that while those who want to dance rather than programmes. In the London Jazz ‘fat drum ‘n’ bass loops’. By going and which by 2000, was now billing Organisation in 2002), to which audiences for black British jazz just sit and listen. One of the effects Festival of 2000, for example, into schools, Pine was expounding itself as ‘London’s biggest music belong some of the biggest jazz show complex diversity along the of the crossover popularity of artists headliner Courtney Pine led a on his theory of British jazz that festival’ – quite a bold claim when festivals in the world, including dimensions of age and ethnicity – like , Robert Glasper, series of workshops with young related to British musical movement the competition includes something North Sea Jazz, Monterey, Montreux jazz audiences are not necessarily and in recent years is people from Hackney, , and related directly to the young like the long-established eight-week and Montreal’s jazz festivals. For just old and white – they are not so that they help to break down further and under its auspices, people’s own musical experiences. Proms classical music festival in Claire Whitaker, being invited to join diverse along class and educational rigid genre definitions. supported by the PRS Foundation. (The significance of his early reggae the city. the organisation was an illustration dimensions: her work finds that playing should be remembered of the London Jazz Festival’s For Pearce, the question is whether Just one out of dozens of letters that Highlighting the still strong links white and black jazz audiences are here, too. As even more so with Gary success and ambition, both of which audiences at such gigs would even the saxophonist received afterwards, between the live and recording well-heeled and well-educated. Crosby, British reggae was a Black were to develop even further as the describe themselves as a ‘jazz the following highlights how Pine industries, Courtney Pine’s first Atlantic sound for some players who new millennium got underway. Wilks’ research – some of which audience’: was bringing the sounds of jazz to proper headline (then Racing Green) would then move into jazz.) was undertaken at London Jazz How many people at a Robert an impressionable, enthusiastic London Jazz Festival gig in 2000 Festival venues – suggests that Glasper gig think that they’re audience: As Pine put it, thinking back to an marked the release of his new CD, black British jazz musicians may at a jazz gig when he’s doing his Dear Courtney, Thanks so much early moment when he had turned Back In The Day, released on Blue attract a slightly higher proportion experimental stuff and how many for coming to our school. It was down an invitation to play as a Thumb, an imprint of Universal of black or Asian audience members of them are just at a Robert Glasper amazing to see you live. You really member of the Jazz Messengers in Jazz. (To accompany the brochure than white British jazz musicians, gig?... Standing in a pop gig you inspired me. I’m the one who played the United States: that year, Universal Jazz produced and that younger performers attract wouldn’t necessarily say, ‘I am at a jazz , and thanks to you, next I’m proud of drum ‘n’ bass as a a sampler CD featuring some of its younger audiences, as do more pop gig,’ you would say, ‘I’m at an week I’m getting my first British innovation, from our UK jazz artists, including Pine, Christian relaxed, open venues. The London gig or I’m at a Taylor sax lesson. black experience.… It’s something McBride, and .) Jazz Festival, through its new Swift gig’... It’s why conversations that could only have come out of a The gig was a storming sell-out, audience development programmes about ‘what is jazz?’, for me, just British perspective.… I could have described by Jack Massarik in the and the inclusion of music outside lead you down a dead end because, gone to America with Art Blakey Evening Standard as a ‘megablast’: narrow terms has in recent years does it really matter or should and been a millionaire. But I’m glad ‘a two-hour show at screaming pitch deliberately shifted towards a wider it just be that the music is doing I stayed – I couldn’t do this music from start to finish... which left fans variety of venues and clubs as a something interesting and related anywhere else in the world. reeling out of the hall, their hands means of developing a younger, to an art form that has a history sore from applauding, their voices more diverse audience. Former called jazz? hoarse from whooping and their associate director of production ears ringing from aural assault.’ Amy Pearce says of the London

47 48 CHAPTER 4

THE BBC YEARS: 2001-2012 2001: BBC RADIO 3 2001 was the year in which, as Claire Whitaker puts it, the London Jazz INTRODUCTION Festival ‘changed from a London festival to a national festival’ as the result of a new partnership with BBC Radio 3, which helped to further promote the festival outside of London. Radio 3’s remit is primarily classical music, but with some jazz, and of course it is a national broadcaster, not only for London. Our profile had been going up, the reach of the festival and the profile of the festival, the strength of the British scene and all sorts of things came together, but that Radio 3 moment when they came in as partners gave a lens to look at that through and see how far we’d come. The station had broadcast from the festival since 1993, becoming the official radio station in 1995, but in 2001, Radio 3 became the principal creative (and financial) media partner, which meant more broadcasts and a greater online presence. Roger Wright had been appointed Controller of Radio 3 in 1998 and had been looking for a way for the station to form a more concrete relationship with the festival to mirror and develop the station’s burgeoning jazz and world Front cover of the London Jazz Festival 2001 brochure music content. showing the new BBC Radio 3 partnership in the logo

49 50 CHAPTER 4

NEW VENUES, NEW FRONTIERS The partnership with the London Jazz Festival in 2001 and the broadening of BBC Radio 3’s musical vocabulary also points to a broader postmodernist trend within the arts, in which the previously deeply scored lines between genres and art worlds have become more blurred. Illustrating this trend, London’s temple of classical music, the Wigmore Hall, was used for the first time in the jazz festival in 2004, as was the cathedral of the art world, the . The Wigmore Hall, a ‘little gem London Jazz Festival 2001 advert in Time Out of civilisation’ with a ‘pin-perfect Thus the choice of venue can affect right venue is also satisfying for the acoustic’ according to The Daily the ‘feel’ of a gig and indeed, the use festival producers. It also means Telegraph, was home to Brad of certain venues may also convey that the London Jazz Festival has Roger Wright, Ope Igbinyemi, and David Jones see no evil, hear no evil, Mehldau, playing solo for two deeper layers of meaning. In 2010, been putting on jazz at very heart of and speak no evil while John Cumming looks on at the opening party of nights, ‘the quiet serious intensity veteran French pianist Martial Solal the arts establishment in London, 2003 London Jazz Festival of the whole proceeding… akin to also played at the Wigmore Hall at reminding us perhaps of the late classical music.’ For Dan Tepfer’s Jez Nelson’s independent media From the gramophone recitals of the the age of 82. Cumming attended musician and radio broadcaster improvisations around J.S. Bach’s production company, Somethin’ 1920s, through the St Regis Hotel the rehearsal, and, as he put it, Humphrey Lyttelton’s only slightly Goldberg Variations at the Wigmore Else, which had been assiduously relays of 1938-1939 – then the only ‘wallowed’ in the sounds of one of tongue-in-cheek observation that ‘it Hall in 2014, there were a few recording and broadcasting from the way to hear live American musicians the world’s great pianists in one of is considered an extra feather in the seconds of silence after the final note festival for the BBC for years, had during the Musicians’ Union ‘ban’ – the world’s great rooms for music. cap of jazz if it can be presented in before the audience suddenly rose to also been trying to find a way to link to the wartime Radio Rhythm Club As Cumming says, Solal loved it, a hall normally reserved exclusively give a standing ovation, more akin to the strands together. The result was (1940-1947), and to the long-running and this story also highlights how for serious music.’ a classical audience’s reaction than a that BBC Radio 3 came on board Jazz Club programme (1947-1974 matching the right artist to the as a partner for the 2001 Festival, as both a radio and TV programme, jazz one’s. which for Whitaker, ‘felt like we’d and listened to in the early 1960s by grown up and been given our key to a young John Cumming), jazz has the door.’ shuttled between BBC Radios 1, 2 FREE new musicians and new sounds artists such as John Surman and and 3. in a more relaxed atmosphere. Carol Kidd. By 2000, the festival For classical music critic Norman FESTIVAL Furthermore, it gives musicians the was able to put on much more Lebrecht, writing in The Daily But jazz has never really found a 2001 was also the first year of the opportunity to play in front of up to free music, thanks to support Telegraph, the Radio 3 partnership secure and substantial home within PizzaExpress-sponsored FreeStage, a thousand people rather than the from (one year only) title sponsors was a sign of a ‘highbrow station the BBC’s family of radio stations a temporary stage built on the floor usual couple of hundred (or fewer), Racing Green, independent label slipping off its blue stockings and and the (under)representation of jazz of the Royal Festival Hall’s Clore and so they have to learn how to Provocateur Records, and Arts & jumping into bed with a funky on the BBC and in the British media Ballroom, with another added in the make an impression. Business’ New Partners scheme. jazz fest that turns out to have is an on-going issue. (A 2009 report foyer in 2004. That year, artists included a mixture had minor surgical alteration by Jazz Services, the then national The London Jazz Festival has Fully equipped with light and sound, of new talent and established acts, and gone transcultural.’ Indeed, agency for jazz in Britain, concluded included free events from the start, the stage represented a further including Gary Crosby’s in its treatment of jazz over the starkly if unsurprisingly for many including free performances in flowering of the festival’s more II and Andy Sheppard in Jazz and years, the BBC shows how jazz in the jazz community that the unusual locations around Euston inclusive, boundary-less events – Beats with DJs Rita Ray and has often tended to get caught BBC was ‘not, in the eyes of many and King’s Cross in the very first not always an easy thing to achieve Max Reinhardt. between highbrow and lowbrow, engaged in the British jazz economy, in dark, cold mid-November. The year. From 1995, free events in the entertainment and culture, youth supporting British jazz to the extent music is not locked away behind Royal Festival Hall Foyer included and older audiences. it could, and many feel should.’) the doors of a concert hall and the Radio 3 broadcasts, interviews and free stages allow people to sample live performances from festival

51 52 CHAPTER 4 Free event in Stage plan for the Royal Festival 2002 Adventures in Hall foyer, 2013 Sound gig at the Southbank’s Queen Elizabeth Hall

2002-2003: ‘THE MUSIC OF TOMORROW’ SCOTLAND The tenth year of the London Jazz THE ‘NORWEGIAN MUSIC FROM OUT Festival in 2002 mostly saw the INVASION’ THERE, IN HERE event in rude health. Highlighting For The Guardian, what made 2002’s Writing in 2002, music industry the festival’s significance not just in festival go ‘with a bang’ was the publication claimed showcasing London-based artists arrival of Norwegian newcomers that the jazz calendar had thrived but as a platform for Britain more unleashing some of the most in comparison with the genre’s broadly, the Scottish Arts Council ‘exciting, focused, yet uninhibited record sales, and, by 2003, it now supported Caber Music’s showcase and spontaneous music in years’, seemed that live music and music While for some people, an event like want to; they are in control of what listen to this kind of music. So yeah, of Scottish musicians on the including a six-hour Adventures in festivals were one of the saviours the annual Jazz Voice gala is the and how much art they consume and it feels like a party.’ PizzaExpress FreeStage in 2002. London Jazz Festival, for others the engage with. The same could be said Sound gig featuring the improvised of the popular music industry more Other free stage highlights over the free events are the main draw. As for the London Jazz Festival, which The line-up included Kevin thrash metal electronica of the broadly. As a genre, though, jazz years include The Monk Liberation one audience member, playing up to for the free events the usual barriers Mackenzie’s Vital Signs, and pianist Scorch Trio from Finland and itself remained ‘barely a blip on Front living and breathing all seventy British regional stereotypes, told us: such as ticket price and strict start Brian Kellock with the veteran Norway alongside Matthew Bourne, the global music industry’s graph’ of ’s compositions ‘I’m a northerner and so I’m going times do not exist, though by virtue saxophonist Bobby Wellins, the latter the Matthew Shipp Trio, and Evan with small venues threatened or in a heady six-hour marathon in to all the free gigs!’ However, for of the late autumn timing of the project created with the assistance Parker. This gig, cooked up in closed, and record labels opting to 2003, specially commissioned others, the evening events are ‘just festival even such free events are of a Creative Scotland award from collaboration with Somethin’ Else, repackage classic albums rather to close the festival. It featured concerts’ and it is the free stage that almost always indoors. the (then) Scottish Arts Council. remains one of director David Jones’ than release contemporary material. musicians from the UK, , and favourite London Jazz Festival It is these kinds of industry shifts feels more like a festival. As The Herald suggested, The free stages, which in recent Finland, led by pianist Jonathan Gee, memories, an un-rehearsed, un- and crises that make the story of While money is an issue, then, for years have been a big draw in both saxophonist Tony Kofi, composer As a promotion exercise, the shaped musical collaboration which the survival – indeed, thriving – of some attenders, the the Southbank and the Barbican, Philip Clark, and on Scottish Arts Council couldn’t have started at 4pm and finished at 10pm. festival in general so striking, and more relaxed open setting, plus have featured notable line-ups over soprano sax. hoped for a more positive response. jazz festivals perhaps even more so. the opportunity to discover new the years, from international artists Time will prove the business As he recalls: Another highlight saw the 150 music, give the free events more such as Robert Glasper to young benefits, but with representatives The audience really got into Even so, the Independent on members of London-based Carnival of a ‘traditional’ festival vibe and a musicians such as the East London of at least two major European jazz the drama of it; they could see Sunday was less than impressed band Kinetika blow the roof off the more convivial atmosphere. One Creative Jazz Orchestra. Gilles festivals joining the hundreds of musicians visibly responding to with the London Jazz Festival free stage in the Royal Festival of the most important findings in a Peterson has also played a role in casual and specialist listeners in what was going on around them. programme’s increasing expansion Hall as they rekindled the spirit large-scale study into outdoor arts helping to build the reputation of showing their appreciation, Scottish It was almost like being able to into world music: of Sun Ra, ‘south London stylee’ by The Audience Agency is that they the festival’s free stage, DJ-ing at jazz’s quality, creativity and good- take an audience into the inner In future can we just render unto (as the brochure put it) in 2007. As consistently attract an audience a particularly crazy Future Sounds time credentials surely will have workings of the idea. jazz what belongs to jazz, and one disgruntled audience member that is more representative of the of Jazz event in 2003 which, Amy been noted. let world music devotees bang complained to the festival in recent By now, Norway’s vibrant music population as a whole than other Pearce remembers, got a thousand their drums elsewhere? Jazz is years: ‘You’re making my festival (The Herald also highlighted the scene had ‘started to make a art forms. people dancing. Indeed, the free underfunded and underappreciated, very difficult. I only come for the free potential downsides of performing splash across London’, leading The stages work well in creating a party and the way to attract new recruits stuff but there’s so much free stuff!’ on a free stage, however, suggesting Guardian to later dub it the year of This is partly because at most mood for the passing public, as is not by getting people along under that having Brian Kellock play the ‘Norwegian Invasion’. outdoor events audiences have the trumpeter Yazz Ahmed explains: false pretences – not that ‘don’t an unticketed event rather than freedom to roam around, of course, ‘Just reaching out to people who worry, it’s really a jazz festival’ is a proper concert ‘devalued his and to join in and to leave when they wouldn’t normally get a chance to much of a rallying cry. internationally recognised status.’)

53 54 CHAPTER 4

It’s a real privilege to be playing here, man: “ the biggest jazz festival, the capital city. It’s massive for me; it’s probably one of the biggest gigs that I’ve done to date. , SAXOPHONIST ”

FESTIVALS DEVELOPING NEW ARTISTS, BEING OPENING DEVELOPED BY NEW Paco De Lucia 2012 ‘Music from out there, in here’ – NIGHT LIVE ARTISTS Access All Areas pass from 2004 One of the ways by which the festival Penguin, who are now becoming 2003 was the first year that pianist has introduced new performers to really big – they certainly cite that Jamie Cullum headlined the (Ironically, the festival in recent years In an age of mass travel, the the wider public has been via the live as being a very important gig.’ The festival’s closing concert at the Royal has apparently received complaints songs of far countries enter our late-night broadcast of the festival’s band’s manager, Kerstan Mackness, Festival Hall, just six months after that there now is not enough holiday ears and our unconscious. opening party on Jazz on 3, which concurs, explaining that it was signing a million-pound record world music in the programme.) In a multicultural city, pentatonic grew directly out of the BBC Radio GoGo Penguin’s first time playing deal with Universal, the kind of However, the embracing of music melodies from China and microtonal 3 partnership and which began in in London, and as well as hitting contract unheard of by many British from around the world has meant Arab ballads constitute our daily 2003. Continuing the BBC’s tradition the core jazz audience via the radio jazz artists. that over the years the festival aural environment. World music is, of broadcasting live jazz, Jazz on broadcast, it felt like the ‘whole jazz has been able to include the West among other things, an expression By the end of the year, Cullum’s new 3 started to broadcast a special industry’ was in the room, including African kora sound of Seckou of massive social transformation. album Twentysomething had become festival opening night event live most of the significant critics, Keita, the tabla-infused Indo-jazz More than any other sound, it is the the fastest selling jazz album in UK on air from Soho’s PizzaExpress, agents and promoters: the gig was fusion of (Remember) Shakti, the music of tomorrow. chart history, outstripping Courtney featuring new acts alongside jazz ‘a marker; it put them on the map.’ flamenco of Paco de Lucia, and Pine’s previous record of 100,000 The festival’s offering may not have stars, which was presented by Jez the melancholic Portuguese fado For Bex Burch, band leader of Vula sales by a factor of three. He was, as been ‘pure’ jazz, but it was indeed Nelson up to and including 2015. of Mariza. (Illustrating the way in Viel, who played the gig in 2015: the BBC put it, ‘jazzing up the music the sound of London. Summing up which the festival can help to break In 2008, the show moved to Ronnie scene.’ His very first appearance its eclectic programme, the slogan That gig for us was really great... an artist onto the scene, Mariza’s Scott’s, and as Nelson recalls, at the festival had only been the for the 2003 festival was ‘Music Lots of people there were industry, first UK show was in the intimate ‘We’ve had incredible legends previous year, his trio performing from out there, in here’, particularly lots of people were reviewers... And 370-seater Purcell Room in the 2002 who’ve played there’, including as part of the Southbank’s free apt because it encapsulates the we’re in talks with a couple of people festival, while she played the Royal saxophonist , vibes lunchtime series. inclusive pan-cultural vision of were there about festivals in the Albert Hall in 2006, and sold out the player Bob Hutcherson, pianist festival, one which imports music future... so possible other gigs may A year later he was back – headlining Barbican in 2016.) Tord Gustavsen, trumpeter Terence from all over the world into London, come out of it as well. the main venue, promoting an album Blanchard, singer Sheila Jordan, For the Evening Standard, then, the but, read another way, also reflects just released. Supported by American and The Bad Plus. To have London The opening night party moved London Jazz Festival’s ‘taking over’ the way in which the festival also jazz label, (owned by Jazz Festival live from Ronnie Scott’s from Ronnie Scott’s and back to the by world music was something to be provides a platform for the music Universal), for 2004’s festival Cullum broadcast on BBC Radio 3 is indeed PizzaExpress in 2017, BBC Radio 3’s celebrated rather than shunned: being made in London itself. The would return to his roots to play at quite special. Jazz on 3 now rebranded as BBC Jazz 2003 festival in particular featured Now, with the special festival live the PizzaExpress club and the 606 a host of significant mostly newer Tickets are balloted and attendees edition of the show now presented Club, the latter the venue where he British jazz artists: Courtney Pine, are often industry players, including by Soweto Kinch, hosting live music had signed his record deal in the , Jamie Cullum, and promoters, critics, and other jazz from international festival guests. . Soweto Kinch. musicians. Nelson again: ‘GoGo

55 56 CHAPTER 4 Gilles Peterson presents Future Sounds of Jazz as part of the London Jazz Festival 2005

FESTIVAL RESIDENCIES Not everyone in the jazz community the Unseen combined straight- From the Original Dixieland Jazz notable multiple bill of pianist Robert was so keen on Cullum’s music, ahead jazz with hip hop, and in 2003 Band’s 1919 residency at the Glasper, and however. For Phil Johnson in The won him a Mercury Music Prize through special guest Dwight Trible at the Independent, the problem with nomination and the MOBO Award for Ronnie Scott at Club Eleven and Barbican. At this time, Glasper was Gilles Peterson as DJ and resident Jamie Cullum (and even Courtney Best Jazz Act. beyond, jazz residencies have been a a relative unknown and his inclusion ‘curator’ is one facet, but the festival Pine) was not that they were vital means of developing the genre by Peterson as a ‘tip for the future’ has also encouraged residencies from ‘insufficiently jazzy (although, of His performance at the London Jazz in the UK. In 2003, the festival’s DJ highlights the DJ’s influence both the music’s instrumental movers course, they are). It’s simply that Festival in 2003 led the Independent in residence was Gilles Peterson, on musicians’ careers and on the and shakers (indeed, this harks back they’re not imaginative enough.’ on Sunday to suggest that Kinch, described in the London Jazz Festival programming for future London Jazz to Camden Jazz days, when Ornette (Perhaps they were too popular, who opened for the American star brochure as being at the heart of Festivals. Coleman and Art Blakey both played too, which is sometimes viewed David Sanborn, ‘left the million- British jazz with an incalculable in multiple settings). Following the (A journalist who had been as a problem in the jazz world.) selling alto saxophonist looking as influence on shaping tastes, and so success of 2008’s Scene Norway particularly critical about Nevertheless, as Cumming said in if he needed to take a few lessons’. help festival-goers connect to the series, the festival programme in the festival’s all-embracing 2004 of the Jamie Cullum effect, Following on from the success of dance floor. 2009 included a special London Jazz programming policy was taken out ‘he’s certainly doing no harm Jamie Cullum’s special concert for Festival four-night residency at Kings Combining interest in records and for lunch that year by Claire Whitaker bringing attention to the scene, 5,000 young people at the Royal Place, featuring ‘maverick Italian piano live performance, Peterson curated and David Jones to try and patch and it is reflective of a much broader Albert Hall in 2005, the last Sunday maestro’, , opening the first Future Sounds of Jazz event, things up. It was the journalist’s and bigger success story. We’re of the festival became ‘family day’ with the trio that featured on his latest featuring Matthew Herbert’s Big opportunity to be rude about the beginning to see more acceptance and in 2006 featured Kinch and ECM release, Stone in the Water, and Band, Bembe Segue and Two Banks festival to the directors’ faces and and support from third parties – trumpeter Abram Wilson playing a finishing with his sextet, of Four, the same year as the release tell them exactly how, in his opinion, from the Arts Council and the BBC, special afternoon concert as well as I Visionari. of Peterson’s Universal compilation, he would run a better festival: ‘The for example – and general levels of their later evening show. Impressed, featuring rare cuts of problem with you people is that you Following Bollani in 2009 and The Bad audiences are up.’ The Independent As noted in the press, Kinch was not 1960s and 1970s British jazz. don’t know about jazz’, he ranted. Plus as musicians in residence in 2010, even went so far as to suggest that the only young black artist making ‘There’s this amazing pianist you the 2011 series, rather than focusing the golden age of British jazz was In the 2003 festival brochure, waves in the new millennium, should hear, absolutely amazing! His on a particular artist or band, instead not in the past but was actually Peterson was keen to point out however. Although Courtney Pine name is Robert Glasper.’ threw a spotlight on artists emerging happening right there and then, that some of those greats were headlined the festival again in as key figures on the global jazz stage marked by the ‘steady stream of performing at the festival that Jones recalls taking particular 2003, the higher profile of London’s and became a meeting place for artists uncommonly good albums’ on year, including pleasure in telling the journalist that emerging black talent could be from the USA and Europe whose music independent labels such as Dune, at the Vortex, Mike Westbrook Glasper was in fact already playing seen via performances by drummer stretches and probes the boundaries Provocateur, and Caber Music, and at PizzaExpress and an evening at the Barbican that very year. A few Mark Mondesir, tenor saxophonist of jazz. These included Swiss pianist/ by British artists such as Tomorrow’s dedicated to the work of Joe Harriott years later, Jones recalls another Denys Baptiste, trumpeter Byron composer Nik Bartsch, Glasper, Warriors, Matthew Bourne, Jason at the Purcell Room. The latter lunch with the same journalist, in Wallen, Tomorrow’s Warriors, funky Norwegian trio PELbO and Scottish Yarde, and Soweto Kinch. featured British jazz stars such which, to deliberately wind him up, collective Jade Fox, and Priscilla saxophonist and composer Tommy as Soweto Kinch, Byron Wallen, Jones said, ‘The problem with jazz is Southbank Lunchtime Series At 25, Soweto Kinch was described Ometan’s J’Noir at Dingwalls. Smith’s quartet, Karma. 2016’s Kings and Gary Crosby, a fitting way that there are just too many solos.’ at 2002 festival by the Evening Standard in 2003 Place resident was Bugge Wesseltoft, to commemorate Harriott’s rich Shocked into silence and rapidly as already having a full hand: marking 20 years since he fused contribution to British jazz music. turning an apoplectic shade of ‘imagination, big sound, impressive Nordic electronica with club culture in purple, the journalist was mollified technique and the confident Peterson’s Future Sounds of Jazz his album, New Conception just in time by Jones: ‘Just kidding’, charisma of a born leader.’ His would later go on to close the 2005 of Jazz. he said, ‘just kidding.’) debut album, Conversations with festival, this time introducing a

57 58 CHAPTER 4 Researchers in residence event London Jazz Festival at 2016 festival, a symposium on 2005 brochure FESTIVAL RESIDENCIES Jazz and the City showing London’s CONTINUED... iconic In 2014, a new type of residency The residencies are also a was introduced at the festival, the reflection of the New Jazz Studies, Professor in Residence, which in a mushrooming of interest in jazz its first iteration was George McKay music and culture from academic from the University of East Anglia, researchers, who want to engage succeeded the next year by Professor the public in their research, whether Tony Whyton from Birmingham that is on festivals themselves The real joy of THE POLITICS City University and Birmingham (such as this book, by Webster and OF FESTIVALS Conservatoire. (Emma Webster was McKay), or musicians from John “ the London Jazz the researcher-in-residence for the Coltrane (Whyton) to Winnie Festival is the sheer In 2007, the festival received 2016 festival.) Recognising the quirky Atwell (McKay). support from, among others, the innovativeness of the role, the Jazz immodestly described it. The other extravagance of it. Hungarian Cultural Centre, the The choice of the resident Mann blog called this new residency meaning of resident in terms of Norwegian Embassy and the French represents the festival-as- Every day at around ‘a unique and brilliant appointment.’ being abiding, present, inherent, Music Bureau. Indeed, the list of tastemaker as a whole; in Bollani’s It shows the festival’s intellectual and established is also significant noon the action international embassies and cultural case, representing the ‘far-sighted, curiosity, its willingness to engage here, as it shows the London Jazz organisations with which the festival boundary-shattering’ nature of the Festival’s confidence that it will begins at venues all with the jazz community at its widest, has worked since its inception This became the long-running Jazz London Jazz Festival itself, as the endure, that it is now resident in and its boldness of programming. over London, and is notable. in the House, which has since been event’s own brochure somewhat its home city. runs continuously in In the years since, it has broadened supported by both BBC Radio 3 and a frenzy of music- its fundraising portfolio to include now EFG International. The event organisations ranging from Pro brings together jazz musicians, making until the Helvetia (the Swiss Arts Council) to industry practitioners and sponsors 2004-2007: THE wee small hours. the Polish Cultural Institute, from with jazz-appreciating MPs and the Canadian High Commission to Lords to talk about the on-going FESTIVAL GROWS Any jazz-lover must Dutch Performing Arts, and from state of the jazz scene, and features In 2004, the festival’s geographical the event into the wider London jazz Shorter with his acclaimed acoustic be tempted to treat the Brazilian government to the live music on the Terrace Pavilion of reach across London grew further, scene and into London’s political quartet, and Evan German Foreign Office. As Amy the House of Commons, overlooking this time expanding to the initiatives. For Andy Sheppard’s Parker, and the first performance at it as the musical Pearce explains, ‘London is politically the Thames. in north Finchley, and The Wapping Dalston Saxophone Massive – a the festival of Herbie Hancock at the equivalent of a an important place but musically In Whitaker’s view, ‘we had a greater Project, a power station turned art piece originally commissioned to Roundhouse in a gig also starring ten-day pub-crawl, still seen to be an important place attendance of MPs and politicians gallery and performance space on mark the bicentenary of engineer guitarist Lionel Loueke and attended and therefore it’s been prioritised than anything else and yet it was the banks of the Thames in the East Isambard Kingdom Brunel’s 200th by schoolchildren bussed in thanks to staggering bleary- by artists, by record companies, by jazz; it wasn’t a string quartet. End; 2004’s festival included artists birthday in – marked not only sponsorship from the Bank eyed from one gig the embassies who often support I think again that sort of thing like , Cecil Taylor, Carla the opening of that year’s London of America. that work, which has made a huge doesn’t just give us confidence as Bley, and Branford Marsalis. By 2006 Jazz Festival, but also the opening difference to being able to present it.’ The festival by this time was regularly to the next. an organisation, it gives the scene the number of gigs had leapt from of the Vortex Jazz Club mark 2, and including urban and dance music ” Indeed, a marker of the confident confidence that it gets that kind of around 120 to around 160, with the the opening of Gillett Square, the first IVAN HEWETT, under its umbrella. For instance, DAILY TELEGRAPH position the festival inhabits in recognition.’ A direct impact of the addition of significant London venues of what were intended to be a series the 2006 festival included Live London is seen in its relation event was that the APPJAG Awards including Cadogan Hall, KOKO, and of new community spaces across UK, the showcase for London’s with the political establishment, attracted support from the music the re-opened Roundhouse, the latter London, devised by then Mayor Ken MCs, vocalists and poets, with four most specifically the All-Party licensing organisation Phonographic of course having been one of the Livingstone. The rain held off, but artists from the underground scene Parliamentary Jazz Appreciation Performance Limited (PPL) because, original Camden Jazz Week venues. as John Cumming recalls of the performing with a full live band at Group (APPJAG), which hosts according to Whitaker, ‘they saw location, ‘I think [Gillett] was the first As already noted, one of the . (In 2009, the same an annual private reception at how accepted jazz was as a tool to and only and it hadn’t been finished downsides of moving from May to venue hosted Ms Dynamite, Katy B, Westminster Palace to launch the lobby politicians. when we opened it. The builders November as the festival did in 1995 Yolanda Brown and in a festival. This relationship started were still on site!’ is that it became an indoor-only event special Ladies Unplugged event.) after Claire Whitaker and Sally – few chances for street parties or Illustrating the wide regard in which By 2007, the festival had now grown Taylor from Arts & Business made parades with second liners or park it was now held, the festival was to encompass over 240 events, a presentation to APPJAG in 2002 concerts for passers-by at this jazz voted London’s Best Music Festival including gigs by Sonny Rollins, suggesting a live music event at the festival – but 2006 did see a rare by Time Out readers in 2005/06. In Chick Corea and Tord Gustavsen, Palace itself whilst the Houses outdoor event, and one which tied 2006 it featured stars like Wayne alongside British artists and star acts were sitting. like Stan Tracey and John Surman.

59 60 CHAPTER 4 ‘How she looks is how I feel in a lot of our concerts; that kind of joy’ said Claire Whitaker of the JAZZ HONOURS London Jazz Festival 2007 It is interesting to note jazz’s Thus the London Jazz Festival is guitarist Ernest Ranglin, eminent EUROPEAN EXPANSION brochure front cover gradual acceptance by or into the tied into ‘big P Politics’ via its links Jamaican pianist and educator AND THE EUROPE JAZZ establishment via the Honours with Parliament and with national Marjorie Whylie, and Jamaica’s first NETWORK List, with the following receiving and international government lady of jazz, Myrna Hague. As well OBEs and other honours over the agencies, but it is also a site for as being a Passage of Music event, Broader political currents in Europe years: John Dankworth (CBE 1974; the exploration of ‘small p politics’. this gig celebrated ten years of Dune also impact on the festival, as knighted 2006), (1979; Jazz is a music of black origin and Music, the company and label set well as feed its evolution (and its Dame 1997), Stan Tracey (1986; CBE has played a significant role in up by Jazz Warrior Gary Crosby and funds). The expansion of the EU in 2007), (1991), Courtney the fight for civil rights. Questions Janine Irons, initially set up ‘to find 2004 led to the new membership Pine (2000; CBE 2009), Acker of race, therefore, and of rights a way to give young black jazz artists of a group of accession countries Bilk (2001), Jools Holland (2003), more broadly, are always present the opportunity of getting the same from central and eastern Europe, Andy Hamilton (MBE 2008), Gary somewhere. Whitaker explains that, breaks as their white counterparts.’ including Poland, , and the Crosby (2009), Claire Martin (2011), while the London Jazz Festival is post-Soviet Baltic states. London’s Looking forward to 2015, Terence the festival’s Jazz Voice musical not itself a political festival, many of demography continued to evolve: as Blanchard’s E-Collective played director (MBE 2015) and the artists presented are engaged the 2011 Census showed, between music inspired by the Black Lives Serious’ own John Cumming and in political issues because jazz has 2001 and 2011 more than three pianist Leszek Mozdzer, and the Matter movement at the Barbican, Projects over the years have Claire Whitaker in 2014 and 2015 always been a profoundly political million of the 8.2m Londoners hailed Fresh From Europe gig at the Vortex while the next night rapper Ice-T included the Europe Jazz Odyssey, respectively for services to jazz. music, and at a festival there from outside the UK, a million more featuring musicians from France, was reading, over a score, from the from which the Adventures in Sound is a special intense moment or so than in 2001. Estonia, Sardinia, as well as Poland. Recognising the cultural importance Harlem Renaissance poet Langston gig sprang, and Take Five Europe, a opportunity to articulate or question of such honours, Michael Connarty Hughes’ late work Ask Your Mama: Of these recent arrivals, nearly 40% European jazz has been a feature of development scheme which brought urgent issues of the day. MP argued for more musicians to 12 Moods for Jazz, a show which came from the EU’s new member London’s jazz festivals for decades, together ten young composers from join the ‘pantheon of jazz’: ‘If we Also many of the festival’s themes went on to win the 2016 Jazz FM states. (It is worth noting too that in however, bolstered behind the across Europe in 2012 and 2013. could recognise some of the work have been implicitly socially award for Live Experience of the Year. 2016, when the UK voted to leave the scenes by organisations such as A special season called Jazz in the of individuals, we could put jazz on engaged: the place of women in EU, the people of London, the capital the Europe Jazz Network (EJN). New Europe took place in 2012 with The brochure itself that year could a respectable footing.’ (Someone or the music, the wider European city, voted to remain.) New migrants With Serious as one of the founder the support of a one-year grant from read like a manifesto or a history perhaps many people reading this embrace of international sounds and their musical traditions from members, EJN was set up in 1987 the Culture Programme of lecture as much as a concert guide. will be asking themselves, ‘Yes, but and dialogue, for instance. And home began to be heard more to connect promoters across Europe the European Union. It included an article entitled widely, and what has been called the in order to share ideas about does jazz want such a thing?’) As Ian there are still people on stage and One highlight was the pairing of two Black Identity: ‘outernational’ spirit of jazz sounded musicians and live promotion and Inglis has noted in his research on in the audience who cleave to the big bands on the same small stage With a continuing international anew. It’s fair to say the sounding to collaborate in organising tours musicians and the honours system, belief that the very central act of at the Purcell Room: Manchester’s dialogue around race relations, of the spirit at an art event like the and concerts. legitimisation works both ways, jazz, improvisation, is a revolutionary Beats & Pieces with Norway’s the African-American origins of festival was considerably aided by however, as acceptance of such practice in itself. So: there can be a (EJN was set up to take advantage Ensemble Denada, as reviewed jazz become ever more pertinent. new funding opportunities also. awards gives consent to the political lot of politics at a jazz festival, and, of the new opportunities for in The Quietus: [Blanchard] performs music from system that created them, and may unsurprisingly, the social question is For Serious the expansion of the EU electronic communication in the his powerful new record Breathless When [Beats & Pieces’ Ben] Cottrell also function to nullify criticality. often around race. After all, in post- opened up further opportunities for late 1980s but the phone lines (a reference to the last words of Eric and [Ensemble Denada’s] Helge imperial London, African-American importing jazz from and exporting it from the then-Serious office in To this end, it is worth Garner, who died in NYPD custody Sunde swap places to conduct music rings next to black British to an even wider range of countries. Soho were so over-subscribed in acknowledging those in the jazz in 2014)... It’s also important to each other’s ensemble with new sounds, Caribbean and West and In 2009, for example, a year in which the early days that connecting was and related music world who probe deeper into history... Hughes’ compositions written by the South African musics too. the festival included nearly 300 frequently only possible in the early have rejected honours, such as masterpiece... is rooted in the spirit composers, it’s clear that this is events, the London Jazz Festival hours of the morning, by which time Humphrey Lyttelton and George In 2007, for example, the festival of the civil rights movement of one project making the most of its was part of POLSKA! YEAR, a joint communication skills might well Melly. More recently, early festival featured a number of concerts as its time. European cultural funding. London Jazz Festival regular Nitin part of the Arts Council England- initiative by the Polish Ministry of have been past their best.) Sawhney refused an OBE in 2007, funded series, Passage of Music: Culture and National Heritage and As Cumming recalls, Serious explaining later that, ‘I wouldn’t like Marking the Bicentenary of the the Ministry of Foreign Affairs as a ‘took an early decision to invest in anything with the word “empire” Abolition of the Slave Trade Act, means of presenting Polish culture ourselves by taking ourselves into after my name.’ Jazz is, after all, including original Jazz Warrior to the UK audience. The festival Europe and going to jazz network a music founded in slavery and Orphy Robinson at . was awarded a substantial grant conferences and going to see work triangulation, and as such is a place Headlining the Friday night at a to present a programme of work in different places and meeting up, for the reflexive consideration of, sold-out Royal Festival Hall was with Polish artists, which included making connections with foreign precisely, ‘empire’. Jazz Jamaica, which featured veteran trumpeter Tomasz Stanko colleagues.’ (including national tour dates),

61 62 CHAPTER 4 2010 festival I wish they wouldn’t have so much great We All Love Ella, 2007 supporters including then “ music at the same time sometimes Mayor of London, because some of the nights you can’t get Boris Johnson to everything but it’s great that they have this festival and all the venues are killing, really really killing.” ROBERT GLASPER

JAZZ VOICE Unlike the dark velvety intimacy of the festival’s opening night party in Soho, the annual Jazz Voice gala, which began in 2008, is a glitzy, sparkling affair in one of London’s 2008-2011: biggest concert halls. Jazz Voice PAST, PRESENT, grew out of the We All Love Ella event at the Royal Festival Hall in FUTURE 2007. The show was a tribute to featuring UK R&B FESTIVAL ON and soul singers Jamelia and Terri 2008 saw the festival expand again Walker, as well as Melody Gardot, with the launch of Festival on the and jazz virtuosos Lizz Wright, Claire Move, a new strand of programming Martin, Lea DeLaria and Ian Shaw, intended to ‘take jazz to more of In the first year of the scheme, Festival on the Move has echoes who The Guardian described as the city than ever before’, as the a high-energy 15-piece Italian of the original free performances spontaneously turning ‘what could brochure puts it, supported in its marching band, Funk Off, played their at the first London Jazz Festival, have been a cheesily respectful first year by the fitting combination way around the festival to venues but with a broader geographical tribute show into a party.’ of Chiltern Railways and the Mayor including the Jazz Café and the remit. What is interesting is that it Illustrating the close ties to the of London’s office. (Indeed, ‘boosting Barbican’s free stage. After a number highlights how the festival is not a recording industry and the festival’s the London Jazz Festival so that it of shows around London, they passed monolithic creature at the centre deference to the jazz canon, the reaches more boroughs’ was one of on the baton to one of Japan’s of a web, sending out to event celebrated what would have the claims made for Boris Johnson’s most extraordinary groups, Tokyo- draw people in, but rather, like the been the 90th birthday of ‘the first ‘200 achievements as Mayor of chutei-iki (’Tokyo Bass Frequency’) many festivals of Edinburgh, operates lady of jazz’, as well as being timed London’ in 2010 on the Conservative – ten baritone saxophonists playing horizontally and vertically through to coincide with the release of a Shingai Shoniwa performing at Jazz Voice at the London Jazz Festival 2011 Home website, alongside ‘brought bass-heavy jazz with a carnivalesque space and time, interweaving with tribute album on Universal featuring back Christmas’, and ‘appeared in dancefloor sensibility – at venues other happenings taking place at the a host of contemporary stars. EastEnders’.) from the artsdepot to Foyles same time. explicitly or more obscurely, to contemporary jazz and world music. bookshop to Marylebone Station. Based on the success of the Ella the decades preceding the year Jazz Voice began to be broadcast The scheme allowed the festival As Lewis Daniel, bass singer in tribute, Jazz Voice began the of each festival, while showcasing live on Radio 3 from 2011 onwards, to hold events in outer London Via Festival on the Move, the London acapella group, Vive, who played following year, with a specially singers from Jamie Cullum, was hosted by the late comedian boroughs for the first time, from Jazz Festival even made it into the Festival on the Move in 2013, says, created London Jazz Festival , Gregory Victoria Wood (and again in 2013), Stratford in the east to Richmond unusual setting of the Natural History ‘I think the idea of the festival on the Orchestra conducted and arranged Porter, , Norma and in 2015 featured, among others, in the southwest. In this way, the Museum, as the final part of the 2008 Move is a really strong one because by British trumpeter and composer Winstone to even Boy George young British singer Foxes, thereby London Jazz Festival reflects the series saw Neil Cowley’s trio embark it brings jazz and different musics Guy Barker. Over the years, the and Lady Leshurr. Jazz Voice is a enhancing the festival’s appeal to the ebb and flow of the city’s oscillating on a 24-hour concert marathon that into different areas of London which event has featured songs from Irving glittering event which reaches out more pop-based Radio 1 audience. focus on inner city, outer city, inner began in the Southbank Centre and you wouldn’t expect to see it. We did Berlin, , Louis to a more mainstream and misty- city, outer city; a microcosm of the ended up with an intimate gig in the artsdepot the other day and I Jordan, Paul McCartney, Stevie eared audience who prefer the centralisation and devolution which the Vortex, passing through Ronnie wouldn’t expect to see jazz there. Wonder and amongst many sound of strings and the massed ventilates London’s political body Scott’s en route. I think it’s good to get the awareness more obviously jazz composers brass of Barker’s big band to some more broadly. of jazz and this music around.’ – all of them somehow linked, of the festival’s more esoteric

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THE RECORDING INDUSTRY IN THE SCENE NORWAY Jazz Voice and We All Love Ella music via the internet would have Following the success of the There were children’s films for As Talkington says, the element have their roots further back in on the long-term prospects of ‘Norwegian Invasion’ a few years which some eminent musicians had of risk, danger and excitement Serious’ history, with an event first the music creators (and the earlier, Serious cemented their written the music, and there was a makes it special for audiences and held in September 2001 called The recording industry). already strong ties with Norway packed children’s afternoon where musicians: Song’s The Thing. Claire Whitaker and the Royal Norwegian Embassy Terje Isungset and Karl Seglem The Song’s The Thing, then, which I had been so struck by Punkt’s developed and raised sponsorship by producing a centenary concert brought a magical atmosphere with returned in 2002, was a means of flexibility and the potential for for the event’. i.e. an event first named Norwegian Voices in the percussion and goat horns. I’d reminding the public of the value collaborations with musicians and held in September 2001 called The December 2005, a celebration of wanted to include a folk version of of songwriters at a time where artists in cities around the world, Song’s The Thing. Claire Whitaker Norwegian music and 100 years The Little Prince which I’d seen in the money and power in the music that it seemed obvious to me to developed and raised sponsorship of Norwegian independence. This Førde with live music, and we got industries were beginning to shift bring it to London and have another for the event, a celebration of the art sampler concert paved the way for poet Ian McMillan in to narrate and away the record labels and (slowly) focus within the Scene Norway and craft of song-writing featuring a broader mini-festival three years a group of dancers who taught the towards live music and festivals. festival... I think for Peter and for singers like Badly Drawn Boy and later, Scene Norway, which formed children how to do the Halling dance. Indeed, in 2008, research by PRS Kings Place it was a memorable . a major part of the London Jazz event in the building which had for Music showed that revenue from Festival’s programme in 2008. Scene Norway also included the The illegal file-sharing site Napster live music overtook that of recorded UK premiere of Terje Isungset’s been opened just a few weeks (est. 1999) had been closed down music for the first time. Although Curated by Fiona Talkington of Ice Music, a piece in which the previously, and a great honour that in July 2001 but its rapid success this might appear to be a beneficial BBC Radio 3’s Late Junction, the percussionist played on instruments it was opened by the Crown Prince meant that the recording industry situation for live music and festival Norwegian-focused mini-festival sculpted entirely from ice. For of Norway. was starting to realise that the producers like Serious, in fact took place in the newly opened Kings the audience, this was no doubt a Scene Norway part 2 took place digitisation of music files on CDs their bigger picture does – and of Place in King’s Cross and featured unique and evocative experience, as part of the 2013 London Jazz had opened up a Pandora’s box course should – include an effort to music, talks and film, alongside a incorporating recorded sounds of Festival, again curated by Fiona when combined with the internet’s enhance and renew the repertoire, weekend of family-focused events. Norwegian glaciers and moving Talkington, with a residency from immense power to share files. The and the festival continues to work As Talkington explains: ice. For the production team, Norwegian trumpeter Nils Petter launch of iTunes and the iPod in with labels like Blue Note and however, the piece was somewhat The original Scene Norway arose Molvaer at Kings Place. In this way, 2001 meant that people started to Universal, as well as PRS for Music. of a challenge in London’s more because [CEO and King Place Norway and its jazz continue to have buy single tracks rather than whole temperate November climes, as developer] Peter Millican asked a special role in the festival, which, albums and the fortunes of the they had to find means both of if I would curate a Norwegian like London itself, is a cultural album-based recording industry transporting and storing the beautiful Festival at Kings Place when it melting pot and, as Eric Hobsbawm started to take a downwards turn. but delicate instruments – albeit opened [with] Serious as the puts it, acts as a ‘bridge between the bulky, at least pianos don’t tend to As well as support from the (then) producers. It was a ten-day USA and the rest of Europe’. melt when they’re being moved. Performing Right Society (PRS, the festival for which I arranged film It is perhaps worth adding that the UK society which administers the and literature events as well as 2008 was also the year in which festival hosted the final performances performing rights of the musical the music. The music included Norway’s Punkt Festival came under of the ground-breaking collaboration works of composers, songwriters a commission with the London the London Jazz Festival umbrella, a between Jan Garbarek and the and music publishers), and BMI (the Sinfonietta and Iain Ballamy and festival centred around the concept Hilliard Ensemble – having produced American performing right society), . of live remix in back-to-back an earlier concert at the Royal Albert The Song’s The Thing was also concerts with a transient audience, Hall, the festival took them to the supported by British Music Rights. which in Norway programmes other end of the scale, with two PRS’ Respect the Value of Music artists like and Laurie intimate concerts in the evocative campaign aimed to raise awareness Anderson to create a hub for setting of Temple Church. of the value of music and of the creativity which goes beyond ‘detrimental impact’ that purely jazz. the distribution of unlicensed

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Ornette Coleman performing at London Jazz Festival in 2011 2010 brochure front cover. This was part of a series of four commissioned abstract artworks much as jazz.’ To commemorate (2009-2012) his life and music, the London Jazz Festival put on a memorial concert to Svensson at the Queen Elizabeth Hall in November 2008. Videos of the band, as well as tributes by Jamie Cullum and Pat Metheny, were accompanied by Jez Nelson in conversation with the band’s manager and label manager, and the trio’s two surviving members also came on stage, both still stunned at the loss of their friend and collaborator. Five years later, the life and untimely death of London-based New Orleans jazz A balanced programme is not just Sonny Rollins, a festival favourite, the Royal Festival Hall in 1963 with trumpeter and composer Abram one which covers the whole gamut had played for two hours straight at the Band, and in Wilson was also commemorated of jazz and jazz-related music (and the age of 80 in his 2010 London Jazz 2009, Dankworth and Cleo Laine’s in a special tribute show. film and dance and workshops Festival performance – and again in achievements were celebrated in a and so on), but also one which is 2012 aged 82 – and according to The special gig at the Royal Festival Hall, Festivals, then, can act as secular generationally balanced to reflect Guardian, he ‘barely slackened his as The Guardian recalled: sites of public commemoration and revisit the music’s – and the intensity over a straight two-hour set’ In the end it was Sir John himself, for musicians who have died and festival’s own – heritage. and ‘stalked the stage... as if he was on a single whisper-quiet alto for whom we still grieve. For Ezra never going to wind down.’ In 2013, The festival has charted the sax solo, who brought the packed Collective drummer Femi Koleoso, however, the legendary saxophonist CELEBRATING evolution of a number of today’s key house to its feet... [T]he ailing star’s his most poignant memory of the was forced to pull out of his show THE LEGACY jazz artists. Many performers have appearance was doubtful until London Jazz Festival is of his band’s at the Royal Albert Hall because of returned to the festival throughout moments before he was wheeled In June 2008, pianist Esbjorn dedication of their 2014 Festival set respiratory problems. its history, reflecting the constant onstage, and he was clearly Svensson of Swedish trio EST to 19 year-old alto saxophonist David flow of creativity that inhabits the A major Royal Festival Hall concert summoning up fleeting reserves died suddenly, aged 44. After Turay, one of the original members music. From already established with Cesaria Evora, the Cape Verdean to play at all... Dankworth’s soft, EST’s PizzaExpress residency of the band who had passed away leaders – Wayne Shorter, Abdullah ‘barefoot singer’ was cancelled due clarinet-like sax sound told a in 1999, which, according to one earlier in the year: Ibrahim, Carla Bley, John Surman, to illness in November 2011; Cesaria unique story, from falling in love commentator, ‘began something of ‘That magical experience of being Norma Winstone and Louis Moholo sadly passed away the following with American jazz in the 1940s, a love affair between the group, the able to dedicate a show to one of my Moholo – to artists who have month. More tragically, gigs may be through a lifetime of making it his club and the city’, the group’s first best friends and to be able to play grown from talented newcomers cancelled because of the death of an own, and finally playing a farewell major London concert had been at in my home city in a jazz festival to today’s movers and shakers – artist before the show. In 2015, for to the music, and the audience he the Queen Elizabeth Hall as part was a special kind of thing. I got the , , example, Serious were devastated to and Laine had helped build. of the 2001 London Jazz Festival, opportunity to speak on behalf of Robert Glasper, Nik Bartsch, Denys hear that Allen Toussaint had died, supported by British pianist the band, just saying what he meant Dankworth died a little over two Baptiste, Soweto Kinch. All these five days before he was due to be Matthew Bourne. to us.’ months later, on 6 February, 2010. and many more provide the festival’s welcomed at the festival. In 2003, the band opened the Memorialising their friend at heartbeat. The London Jazz Festival The London Jazz Festival can be the festival at the Royal Festival Hall, the festival highlights both its therefore presents jazz musicians first – and last – time a fan might and in 2006, played the Barbican, significance within the jazz world, who are still playing well into old see an artist live, and concerts can performing on a bill with British but also as part of the fabric of age – Ornette Coleman performed in take on a special resonance after band Polar Bear, a double bill London, as hundreds of school 2011 at the age of 81, for example – the event because they can never be which, according to The Guardian, friends and family friends came and there have been occasions over repeated. John Cumming had first ‘reflected world-music, classical to the gig to celebrate the young the years when gigs have had to be heard John Dankworth perform at forms and avant-rock at least as musician’s life. cancelled because of ill-health.

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Map of stages for BT River of Music 2012 they often run on adrenaline. Those working in them have high emotional involvement and often have to go beyond the call of duty.’ Such an ambitious festival project unsurprisingly added additional pressure on the organisation – yet a few months later, what David Jones An amazing remembers being ‘a really prime “ festival’ jazzed the city again. THE EFG YEARS: festival – gets The London Olympics and the better every Cultural Olympiad notwithstanding, year. the economic crisis which began in 2013-PRESENT ” 2008 led to a policy of austerity. Cuts GILLES PETERSON, to both Arts Council England and DJ AND BROADCASTER local authorities saw state funded 2013: 21 YEARS’ YOUNG arts organisations increasingly The London Jazz Festival celebrated encouraged to look for private the start of its 21st anniversary sponsorship to boost their existing year in 2013. To mark the occasion, 2012: FROM FEAST (CULTURAL subsidies. (In fact there has been Serious placed commissioning at success here: annual business the heart of the festival, working OLYMPIAD) TO FAMINE investment in the arts grew from with an impressive list of 21 national (AUSTERITY), AND BEYOND £57m in 1991 to over £150m in 2000 and international artists to create (A NEW TITLE SPONSOR) to over £660m by 2012.) According to new music which premièred writer and public policy consultant, that November. A mix of original Adrian Harvey, London boroughs work and community projects, 21 The 2012 London Jazz Festival 2012 was a memorable year for saw the largest cuts in arts and was, according to The Guardian, a Serious for other reasons, however. Commissions was supported by culture spending in England: by Arts Council England and Serious ‘memorable’ festival that brought Back as far as 2004, the brochure for nearly a fifth between 2010 and ‘musical thrills’ to packed halls, the London Jazz Festival contained Trust, the new charitable wing of 2015, while in 2015, it was decided Serious established the previous foyers and free stages at the an advert encouraging festival-goers that funding for Jazz Services – the Southbank and Barbican. It also to ‘Back the Bid’ for the London year. New work included Courtney national agency for jazz – would be Pine’s Caribbean-tinged Coconut saw the first performance at the 2012 Olympics. As well as sport, cut completely, the decision causing festival of the now globe-trotting the event also included a national Water, Carleen Anderson’s Serious considerable debate within the Adriano Adewale’s Catapluf’s Musical Journey, commissioned for 2013 Sing, performed by a 50-strong Brooklyn-based fusion band, ‘Cultural Olympiad’ across the British jazz community. Snarky Puppy, alongside a clutch of , which ran from community choir, Carla Bley’s Another new chapter began for the with commercial activity from a major jazz stars – Herbie Hancock, June to September 2012. Austerity also affected the BBC, Naked Bridges, Diving Brides festival’s 21st year with the title very early stage, Serious has a long Melody Gardot, Jan Garbarek, Brad and Radio 3’s partnership with the – written to celebrate long-time As part of this, Serious produced sponsorship of Swiss private bank history of association with corporate Mehldau, Esperanza Spalding, London Jazz Festival ended amicably collaborator Andy Sheppard’s recent the BT River of Music, a two-day EFG International, which had been partnerships, dating back to 1995 Sonny Rollins and Jack DeJohnette, in 2012, the size of the festival marriage – and Jason Yarde’s Bold festival taking place across London sponsoring the EFG Excellence and Oris. In Claire Whitaker’s view, as well as a major focus on ‘Jazz in meaning that Radio 3 still feature as Brass, involving more than 100 in July on six continent-themed Series since 2008. Over the years, the New Europe’. it within their schedules. When the By actively embracing and welcoming brass players, saxophonists and stages along the Thames, including this has featured world class Radio 3 partnership ended, however, a collaboration of funders, from percussionists of all ages. A memorable behind-the-scenes the and the Old performances from some of jazz’s the London Jazz Festival needed EFG to the Arts Council, Serious can story from the same year concerns Royal Naval College, Greenwich, leading lights, including Sonny Another commission was Adriano to find another partner in order continue to grow the excellence, Paco de Lucia, for whom 2012 and featured musicians from the Rollins in 2012, Keith Jarrett in 2015, Adewale’s Catapluf’s Musical to maintain the high level of the scope and breadth of our work. turned out to be his final London 205 nations taking part in the Dee Dee Bridgewater in 2017, and Journey, a concert for children aged programming, and so 2013 was the Our vision is to increase the Jazz Festival gig. The guitarist Olympics, including Hugh Masekela the annual Jazz Voice gala. five to seven featuring Catapluf, a year in which the Swiss private bank accessibility of jazz of the highest wanted actual palm trees behind and Angelique Kidjo, Wynton character whose imagination travels EFG International signed up as title For Serious, partnerships with the level, and, simply put, without such him but these proved too tall and Marsalis, the Scissor Sisters, the to places where everything is music, sponsor for the next three years, corporate sector are a valued and investment, we would struggle to too bushy to fit on the Royal Festival Kronos Quartet, and Arun Ghosh. even saucepans, water, and drums. thus securing the festival’s medium- vital way of allowing the festival achieve this. By partnering with a mix Hall’s stage, leaving the production As Bristol Music Trust CEO Louise 21 Commissions was also filmed in term future. to continue to programme at the of funders we can achieve our aims manager no option but to lower the Mitchell and academic Dimitrinka order to create rich and accessible highest level. Recognising the and so much more. stage, climb a ladder and trim the Stoyanova Russell put it: ‘Festivals digital content which was then used merits of balancing public funding tops off the palms with scissors. are highly pressured environments: to promote the festival.

69 70 CHAPTER 5 Advert for The Songs of , commissioned for the 1999 London Jazz Festival

COMMISSIONING DIGITAL NEW WORK TECHNOLOGY Although the 21 Commissions In an example of a commission An example of a more leftfield In a world of decreasing state In 2013, the festival also created project in 2013 and the 25 one- leading to a significant recording, commission was the Jazz et Cuisine funding, however, the emphasis its own EFGLJF radio channel page scores commissioned for John Surman was co-commissioned event at the Southbank in 2010. This has shifted to co-commissioning and playlist, allowing the public to Club Inégales in 2017 were major with the Bath International Festival combined British saxophonist Andy between festivals in which, sample tracks from performers, and events in the festival’s history, to write what became Coruscating, Sheppard and Italian percussionist rather than hosting the first expanding the reach of the festival commissioning new work has been which was released by ECM in Michele Rabbia with a Michelin- ever performance of the piece in beyond its temporal and geographical part of its role since the early years, August 2000 and premièred at starred chef, Ivan Vautier, who the world, festival producers all reality (the festival had already illustrating that, while festivals London’s festival in November the cooked food on stage while the contribute to its commission and released its own iPhone app in 2010). then host the first performance are necessarily reactive to current same year. musicians played, with the mic-ed The recent capacity to easily record trends, they can also be proactive. up pots and pans providing an extra in their city or their country. More recently, in 2014, the festival and stream artists’ music has been level of percussive improvisation. In 1994, for example, Serious commissioned new work from major There is also a broader problem both a blessing and a curse across all Speakout successfully applied artists like John Surman, Marcus As Sheppard recalls, he scored it with new commissions, and one live concerts, of course. On the one for funding from the Arts Council Miller, and the Dedication Orchestra as if he were writing music for a also common to the classical hand, not all artists – or audiences for a commission by John Harle, featuring Louis Moholo Moholo, but film, and, laughing, explained that world, which is that, as Ivan – appreciate their performances whose mix of medieval texts and also from up-and-coming musicians the preparation for the concert had Hewett explained in the Daily being recorded or filmed and then contemporary music, Terror and like Phil Meadows, Trish Clowes and entailed ‘a lot of research’ by visiting Telegraph, ‘all too often an uploaded to the internet, as amateur Magnificence, appeared at the 1996 Nathaniel Facey. Vautier’s restaurant on several interesting new piece disappears film-makers are distracted – and London Jazz Festival with a line-up occasions. The show had been after its first appearance, distracting – from the actual concert. The festival has also included which included Elvis Costello, Sarah devised in collaboration with the wherever it takes place.’ commissions from other bodies. Keith Jarrett, for instance, is Leonard and Andy Sheppard. As Jazz sous les Pommiers festival in The 1995 festival featured Grand Andy Sheppard is all too notoriously prickly about filming inside one reviewer asked, ‘Is it jazz? Is it France and premiered there. Union’s Dancing in the Aisles, for aware of the difficulty with the venues. According to The Guardian’s classical?… Theoretically, this was example, a commission by the The original concept was that the commissioning of new works, review of Jarrett’s sell-out 2015 a fusion of jazz and the classical London Borough of Islington, while audience would be able to go onto after the excitement of the festival concert, he spotted a camera tradition, not Third-Stream, but the Portico Quartet and Ruhaya the stage and sample the food. In première and the temporary lift in the crowd before the encores, Slip-Stream.’ Supanggah were co-commissioned France, c’est ne pas un problem, to the composer’s bank balance: left the stage, came back, shouted Another early example of an artist with the Southbank Centre in 2008, but in England, health and safety ‘I have to keep banging on doors ‘go away and take as many pictures commissioned by the festival was Supanggah then a Southbank Centre regulations would not allow it, in the hope that one day I’ll get to as necessary to kill that fucking Graham Collier, who wrote what Artist in Residence. meaning that the increasingly play them again.’ (To try to remedy camera’ and then, ‘as if stung, roared became The Third Colour for his hungry audience could smell the this, Serious now pursue a policy off into a maelstrom of thundering The BBC has also been a key source Jazz Ensemble in 1997. In 1999 the delicious food but not eat it. of joint commissioning with other counterpoint.’ of commissions over the years, festival co-commissioned a concert partners so as to further support including Big Air in 2005 featuring Specially commissioned world Yet, recent technology has offered new with Nottinghamshire County their artists’ work.) , , premières of new pieces used to be tools for self-promotion for musicians, Council focused on Robert Wyatt, Myra Melford, and Oren one of the means by which festivals which may be particularly relevant in which his songs were reworked Marshall, and more recently, via could add a dash of sparkle to their to jazz. As Somethin’ Else’s Jez by musicians such as trombonist Radio 3’s New Generation Artists programme, whilst also helping Nelson argues: ‘the internet, digital, Annie Whitehead and singer Julie scheme, Sons of Kemet’s Shabaka to develop the genre and providing has always been disproportionately Tippetts while Wyatt watched from Hutchings with 2012’s Babylon and composers with paid work. important to jazz in some ways, the Festival Hall’s Royal Box. The saxophonist Trish Clowes in 2014. because it’s such an under-promoted’ resulting elegant arrangements, Each of these were specially written form. Claire Whitaker has another according to The Guardian, meant for the BBC Concert Orchestra. positive view, on the accessibility that that Wyatt’s works have ‘since digital technology offers: ‘the internet become oft-recorded fixtures of the has been really beneficial to our types jazz and rock canon.’ of music because people can find and discover them, and not only [be] waiting for radio stations to feed them.’

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I love it here. I love playing the London Jazz “ Festival. It’s one of my favourite festivals in the world so to get a chance to come back is always great… I like the fact that every time I’m here it’s a different venue… You go from the Royal Albert Hall to Rich Mix. It’s cool, you know? ” CHRISTIAN SCOTT, TRUMPET PLAYER

Melody Gardot performing at the London Jazz Festival 2012 as part of the EFG Excellence Series

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2014: JAZZ EDUCATION A long way away from some of the Around Ibrahim and Dyer, Serious The first London Jazz Festival in Take Five is a professional grumblings in the festival’s early also brought younger musicians 1993, for example, contained a development programme for UK- years about its lack of big name from South Africa together with number of workshops and initiatives, based creative jazz musicians under headliners, The Guardian enthused young British players capable including music played and made the age of 35, set up in 2004/5. that the 2014 EFG London Jazz of responding to that heritage: in special schools, community In 2009 a version – Airtime – was Festival launched ‘with the kind Cumming remembers that centres, prisons, hospitals, launched for musicians living and of all-star firework show that has programme being ‘interesting and care homes. Public-facing working in Scotland (supported become the norm.’ The Friday night because we were then able to workshops included Technojazz and by the Scottish Arts Council, now alone saw performances by the construct a programme that three free jazz workshops at the Creative Scotland), and from 2011, 2014 Jazz for Toddlers UK’s ‘folk-steeped maestro’ John explains that background but also Weekend Arts College, including Take Five Europe expanded across Elizabeth Hall FreeStage from 2010, One of the most ambitious and Surman, singers Kurt Elling and explains what was going on in the an improvisation session with Nitin Europe, illustrating the appetite for and in 2015, Take Five musicians complex educational events in 2016 Dee Dee Bridgewater, the ‘coolly new South Africa.’ Sawhney and Pritim Singh, an professional development beyond took over the Royal Festival Hall’s was guitarist Chris Sharkey’s Make sophisticated’ sax-playing Branford all-day voice workshop with Carol Britain alone. The Abdullah Ibrahim concert also Clore Ballroom free stage to it/Break it, a mass participation Marsalis, and Jan Garbarek with Grimes and Brenda Rattray, and formed part of the EFG Excellence Since its inception, Take Five has celebrate ten years of Serious’ talent commission for over one hundred the Hilliard Ensemble. The latter a percussion and horn workshop Series but another of the uses to contributed to the development of development schemes. musicians and vocalists of all performed together for the final time with Byron Wallen and Richard which corporate money is put is the over 150 musicians, many of whom abilities and all kinds of instruments before the retirement of the early Ajileye. The presence in the festival In doing so, this takes the behind- festival’s learning and participation have gone on to have high-profile to make music and play together music vocal quartet, their remarkable of such community, learning and the-scenes development work on to programme, which by 2014 success. Alumni include Grammy in a piece that was workshopped combined sound tingling spines in development activity would be the stage and up front as a Serious included Jazz for Toddlers, singing award-winning conductor, arranger in the morning and performed in the extraordinary acoustic of the tiny further enhanced with the arrival and a London Jazz Festival activity. workshops, and instrumental and and composer , the evening. Temple Church behind of Claire Whitaker at Serious in (While Take Five focuses on jazz, composition workshops for young Mercury nominees Eska Mtungwazi, in two sell-out farewell shows as 1996; for Whitaker, community another Serious scheme, Move On As well as these more structured musicians. Sebastian Rochford, Shabaka part of the EFG Excellence Series. is core work. Up, is for creative artists working in artist and audience development Hutchings, and Gwilym Silcock, Two particular highlights were African and Caribbean music who schemes and educational Reflecting both the background Educational routes into jazz and also the CEO of Edition Records, Serious Sing’s pop-up community live in England, including alumni activities, Serious also distribute of its directors and London jazz’s are many and varied, from the Dave Stapleton (the label also has choir première of a piece by John Adriano Adewale, Zara McFarlane, complimentary tickets to young special relationship with the formal education of colleges and a number of Take Five alumni in Surman as part of the Surman Ayanna Witter-Johnson, and Mim musicians from, for example, the country, the 2014 festival celebrated conservatoires, to more informal its stable). at Seventy residency, and the Suleiman.) Tomorrow’s Warriors project, and twenty years of democracy in South routes like private lessons and performance of Bird on a Wing by As Martel Ollerenshaw, associate young musicians also get the chance Africa in a partnership between development schemes like Illustrating how the festival can 200 seven- and eight-year-olds director of talent development (now to attend masterclasses. the Department of Arts & Culture, Tomorrow’s Warriors. Post-study, provide work for those musicians from Islington, a project devised under the nicely-titled banner of South Africa and the British Council, however, musicians can find already within its milieu, Arun One such was part of a celebration with pianist Seriously Talented) explained to featuring major concerts from themselves in a landscape with Ghosh ran the Jazz for Toddlers of 75 years of the Blue Note label in and Australian recorder virtuoso us, the programmes provide time established stars such as Abdullah very little traditional music industry gigs in the 2015 Festival, leading 2014, which featured stellar names Genevieve Lacey. (Her performance out and access to the industry so Ibrahim and also introducing new support and it is in response to this babies and toddlers and their from the label’s roster including with Surman of his new commission that the musicians can be better talents such as Bokani Dyer. that Serious developed the Take parents and carers in an hour of pianists Jason Moran and Robert at Kings Place was a revelation for informed and can focus on their Five initiative. music, stories and movement. To Glasper. Furthermore, besides As Cumming explains, the most of the audience, for whom jazz career; they include music-making the accompaniment of taiko drums, developing young musicians, Serious programme looked back at the recorder was a new experience.) but also concentrate on artists’ Ghosh’s clarinet took the children run their own internship and training history of jazz in South Africa and overall professional development. The festival’s artists and audiences from a highly-excited romp around and mentoring scheme, Young & how musicians had emigrated to Participation in a Seriously Talented have benefitted from its Camden the room into a sleepy lullaby, before Serious, and The Write Stuff Europe and found a home in London programme can also mean that the and Bracknell origins in many ways, recalibrating them ready to go back scheme for developing young in the 1960s and 1970s, becoming an artists get the opportunity to play not least because of the legacy of out into the city. jazz and music critics and influential presence within both the across Serious’ many platforms, their education and community photographers, in association with British and European jazz scenes, including the London Jazz programmes, and the wider links the magazine Jazzwise. hugely enlivening what were already Festival. The Take Five Takes Over between jazz and the world of dynamic periods of experimentation showcases, for example, included community music. and innovation. performances on the Queen

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[Ronnie Scott’s] is my favourite place… It’s just a wonderful Advert for The “ Streets in 2015 venue. The thing at Ronnie’s is that [the audience] come London Jazz expecting to hear music that moves them. They’re not bothered Festival brochure whether or not you have a pedigree or you’ve had hit records or anything; none of that matters to them. It’s just on the night you have to deliver and if you deliver they’ll let you know; if you don’t they’ll let you know that too. But that’s what’s great about it; you can feel and vibe off them.” CARLEEN ANDERSON, SINGER

2015: IN THE CLUBS AND ONTO UNDER THE THE STREETS JAZZ UMBRELLA Jazz clubs like the 606 Club, At the same time, though, the The London Jazz Festival is often Amy Pearce explains, however, that, of London’s High Street Fund for themselves in order to be included PizzaExpress, Ronnie’s, the Vortex, changing face of London’s boroughs described as an umbrella festival while Serious have in fact discussed accessible culture, and taking music under the festival’s umbrella, with no Café OTO, and the Bull’s Head has an impact on the jazz scene. in that it gathers together a huge moving the festival (back) to the into cafes, libraries, civic halls, and support from record labels, and may sit alongside live music venues For instance, as regeneration and number of events into one (physical) summer and have talked about the high street itself. end up out of pocket. and like KOKO and gentrification have spread, so too programme. It could also be called having it in one location such as David Jones uses the metaphor of According to Claire Whitaker, XOYO in the London Jazz Festival property prices in London have been an ‘amplifier’ in that it amplifies the Southbank Centre, they have an onion to explain how the London London today has the equivalent of programme. Partnering with club increasing well above inflation for London’s existing jazz scene, or always returned to its now well- Jazz Festival works: there is an a music festival happening every promoters and venues over the many years, accompanied by an in even what writer Jonathan Wynn in established formula: inner ring of activity created by week. As the British festival market years has been a shrewd move as it increase in luxury accommodation his typology of festivals might call That’s been a conscious choice Serious, followed by a further ring boomed in the first decade of the has kept the festival’s programming and a decrease in the availability of a ‘core’ festival, as it uses a variety because we live in London and it is of activity they are responsible for new millennium, competition from fresh and continues jazz’s long affordable housing. of locations in and around London a big, sprawling city and we want stimulating – a South African artist other festivals and other leisure heritage as a music which connects whilst also having major spectacles – For Steve Rubie of Chelsea’s 606 the festival to reflect the city.… flown to London, for example, who activities has meant that events the concert hall to the club to the both free and ticketed – at its core(s) Club, the high cost of living in The commitment to the scene is a then also gets club gigs elsewhere like the London Jazz Festival have dancefloor, stretching back to the at the Southbank and Barbican. Chelsea has had a direct impact big part of why we stay as we are – and then there’s an outer layer of expanded and diversified into talks, dance clubs of 1930s London. on the club: ‘Chelsea was a great Way back in 2003, The Independent because although you could do a what he terms ‘confident creators’, films, and other ‘fringe’ activities in It means that the festival shares place to be in 1988; for the jazz suggested that perhaps the Ronnie Scott’s stage and you could who could be clubs, promoters, or what is a very crowded marketplace. out the economic risk but, just as thing it’s not so great any more; festival should model itself on do a Vortex stage, it’s not the same musicians themselves, for instance. There is therefore some pressure for importantly, is able to capitalise it’s a struggle.’ His customers the Netherlands’ North Sea Jazz as being at the Vortex or being at Not everyone is entirely convinced the festival’s overall programme to on other promoters’ knowledge used to live nearby but fewer can Festival, which was then sited in a Ronnie Scott’s and that’s how it is. about this approach, however – or be more than the sum of its parts, and networks, as well as enabling afford to anymore and so have to large congress centre in The Hague, The festival, therefore, uses a wholly of the umbrella festival model and more special than what London access to younger and more diverse travel, which, with drinks and food containing a number of different different model to the North Sea in general – as it can mean that can provide in its year-round activity. audiences. In this way, the festival costs also, becomes an expensive sized venues, noting that ‘it would be Jazz Festival as it encompasses musicians and venues feel under Looked at in one way, umbrella can include leading edge music as proposition on, say, a weekday night. sad for clubs, but more people would venues across the capital. Indeed, pressure to pull out all the stops for festivals essentially operate a free well as genres outside their own Rubie sees the London Jazz Festival get to hear more jazz. That has to be by 2015, the London Jazz Festival the festival to put on a more special market model in which events direct spheres of knowledge and so acting as a powerful ‘shop window’ what it’s all about.’ had spread even further into Greater – and expensive – programme. compete against each other to try presents and celebrates London’s for the 606 Club, which has brought London, with a set of music events The ‘confident creators’ may be and attract an audience, pitting jazz (and music) scene more broadly. new customers to the venue over called The Streets extending the musicians rather than promoters headline events at the centre against the years. sounds of festival east to Redbridge who, as Debbie Dickinson sees those on the fringes. in Essex and west to Kingston-upon- it, may end up hiring venues Thames, funded from the Mayor

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“ To have a jazz festival is special to me anyway, and to have a jazz festival in London – one of the major cities in the world – is even more special because I live here, I grew up here, and I love this place. I look at the jazz festival like a magnifying glass. The organisers bring in all the big guns, all the people they really want – whether it’s Herbie Hancock or Chick Corea, John McLaughlin – and the spotlight’s put on them and the magnifying glass is put on them. But it’s all the other stuff that gets encapsulated into the jazz festival that really bolsters the event and makes it look amazing.” JULIAN JOSEPH, PIANIST

The Robert Glasper Experiment performing at the EFG London Jazz Festival at KOKO in 2016

PROGRAMMING CREATIVE CREATIVITY CURATION Where does one begin to While the festival is at the heart of success, festivals then need to One example of this slow-burning At the same time, there has been an As well as commissioning, another programme a festival which includes of everything they do on the jazz include them in the programme, buzz effect was Robert Glasper, who explosion in music available online tool in the festival producer’s toolkit dozens of venues and thousands of side, Serious also have many other rather than the other way round. was tipped off to Serious by Gilles in the 21st century, and trusted is creative curation of an evening’s artists? Former associate director activities which spin out from it, Peterson in 2005 but still took four tastemakers such as DJs and programme, by pairing musicians The music industries rely on of production Amy Pearce tells us including the Barbican Jazz Series or five years to sell out the Royal festival producers have therefore on double bills in order to introduce tastemakers such as festivals that Serious start with two grids: as well as music consultancy and Festival Hall and the Roundhouse. become increasingly important for both artists to new audiences, as and record labels finding the next one that focuses on the concert hall programming work with other helping to steer listeners towards well as to hopefully set off some big thing. New artists cause buzz Sometimes the new stars are still programme, one that focuses on British festivals, and a year-round new music. kind of musical or critical dialogue. within the industries, and it can be students, shining through in Serious’ the club programme. The bigger national touring programme. And Often but not always this is done by surprising, even in the digital age, learning and participation work, Broadcasting is still crucial, names tend to be booked first, so there are conversations right putting together a more well-known how long these artists take to come which opens up the organisation however, and by 2015, the London because their timelines in terms of through the year between the act with an up-and-coming act as into the public eye. to the music colleges and allows Jazz Festival had partnered with planning tend to work further ahead, Serious team, and with artists and support. Serious to see who is creating the BBC Music, BBC Radio Scotland, sometimes as much as 18 months. agencies, and with other venues and Pearce again: exciting new music. Highlighting and BBC Radios 1, 2, 3 and 6 In 2015, the senior African-American promoters via networks like EJN and You suddenly find that there’s an There is a series of international the IJFO. the broader changes afoot in terms Music, which meant that, alongside trumpeter ’s jazz festivals taking place each artist who’s been booked for Love of tastemaking and gatekeepers, a dedicated temporary ‘pop up powerful electric band was paired autumn, of which the London Jazz For Pearce, ‘the idea’s always that Supreme [jazz festival], who’s been it used to be that the press drove station’ – a collaboration with the with the young (boy-ish, even) local Festival forms a key part. November the programme is like a statement. booked for London Jazz Festival, everything in the 1990s and early commercial station, Jazz FM – the one-man-band YouTube star Jacob is therefore a touring period where What is jazz in London in November who Gilles Peterson or Jamie 2000s, but by the 2010s, the critics’ event could be ‘cross-trailed’ across Collier, the idea being that both acts those bigger names will be on the 2016? And therefore you’re trying to Cullum are talking about and dominance had waned in the face radio and website platforms, leading were exploring technology from a road, and so the festival will be look at celebrating the big names, there’s a real sense of the industry of falling sales and the increased one festival-goer to remark that ‘it new perspective. The gig introduced looking to get in early on those and spotting the emerging talent, buzzing about it. How long it takes significance of social media and just did feel like it was everywhere Blanchard’s music to Collier’s secure them, particularly those presenting the new collaborations for that buzz to translate citizen journalism. this year.’ younger audience and vice versa, from America. and you’re looking for where the to an audience is probably two, the aim being to challenge and gaps are.’ And as new artists three years. stimulate both. inevitably reach a tipping point

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I think that the emphasis on improvisation and on new things can “ still go beyond borders, and will not be hampered stopped or stifled by decisions that are made on a nationalistic level... When we play there, I’m thinking of all the adventurous music and films and everything without borders... artists without borders, and the London [Jazz] Festival might be one of the main conduits which carries and transports this art. So the [festival’s] anniversary is about keeping this pathway of art open to expression for humanity. ” 2016-2017: Last Night of in 2016 showing EU flags WAYNE SHORTER, SAXOPHONIST LONDON being waved as well as Union Jacks The projector above the stage in the Serious had had a long relationship The gig was memorable for another From ‘swinging’ in the 1960s to first half of the show was filled with with most of these musicians and reason, however. The terrorist ‘cool’ in the 1990s, by 2016, Forbes multiple and ever-changing layers from a list of artists devised by Lau attacks in Paris the previous night had rebranded London as the of computer-enhanced psychedelic with whom they were interested in (Friday 13th November) meant that ‘most influential city in the world’, images of Collier’s face, linked to working; Serious threw back the Washington’s Sunday night gig in underpinned by its status as a global the instrument(s) he was playing at names of Wesseltoft and Schwarz Paris was cancelled and so the band financial capital. In the same year, the time. The second half, however, to Lau, and then threw Lau to had a spare night in London. Could official government population showed a single still image, the Schwarz. As Cumming continues, the London Jazz Festival producers projections predicted that by 2024, cover artwork for Blanchard’s new where festival collaborations come set up a brand new show with 24 London’s population will have album Breathless, a reference to from is ‘more to do with creating hours’ notice before the end of grown to nearly ten million, with the last words of Eric Garner a dialogue with musicians’ than a Washington’s set? A frantic couple of particular growth in the East End, (‘I can’t breathe’). diktat from Serious. The result in hours ensued, not helped by the fact that international immigration into this instance was ‘a collaboration that the Barbican’s backstage and London will increase by 10%, and The album cover features the image between two areas of music which production area is an underground that the fastest-growing section of of a white peace dove on a black don’t necessarily seem to work concrete bunker, meaning multiple the population will be the over-65s. power fist, a visual reference to the but actually did.’ The bands joined trips up and down in the lift by However, these forecasts were continuing civil rights movement in each other for an encore, ‘sort of in the festival’s production team and made before Britain narrowly the US, and Blanchard’s stark angry D’, as Lau shouted out to the jazz Washington’s crew to get mobile sound was intended to present and voted to leave the European Union musicians as they stood listening phone signal. Portugal, , South Africa, outlying boroughs voting to leave. reflect on the Black Lives Matter in June 2016 in a ‘Brexit’ which and smiling in the wings. Cumming Spain, , , UK, and (Indeed, at the traditionally patriotic movement. While the technological Eventually, the Scala in Kings Cross appeared to surprise even those who again: ‘Is it jazz? I don’t care. Is it the United States (compare this to Last Night of the Proms at the Royal approaches to the music may confirmed, so long as the festival campaigned for it. The referendum improvisation? Yes it is.’ 2002’s programme which featured Albert Hall in both 2016 and 2017, have linked the two acts, arguably could guarantee a minimum bar result exposed deep geographical performers from only 14 countries). it was notable that the flags being the shift during the interval from Another example of creative curation spend. ‘No problem’, thought the and demographic divisions, a waved by the BBC Proms classical Collier’s fresh-faced pop vocals in 2015 paired GoGo Penguin in the production team. After a storming resurfacing of racial tension, For the London Jazz Festival, then, music festival-goers were not only to Blanchard’s brooding presence first half of the concert with the set, the London crowd were political and economic uncertainty as Martel Ollerenshaw explains: Union Jacks, but included a number across the stage was one awkward hotly-tipped Kamasi Washington hungry for more, and Washington’s at home and further uncertainty We move people from around the of EU flags also.) step too far. in the second half. The pairing announcement from the Barbican about Britain’s place in the world. world, so if there’s any impediment probably worked out better for the stage about the new gig meant that The anti-apartheid exile South Such adventures in ‘cultural dating’ What could all this mean for an or curtailing of the free movement latter than the former in terms of it sold out easily. There was only one African pianist Chris McGregor once – bringing together disparate outward-looking, international of people, that will have an impact. media attention, although for GoGo fly in the ointment: the guaranteed said that the big band Brotherhood artists and audiences and even cultural form like jazz, and its Penguin gave them the opportunity bar spend. At the Scala, Washington Other issues include possible of Breath benefitted from being genres – had also been in evidence celebratory festival in the nation’s to do something very creative and played an entirely different set, extra workload and costs for visas, in London, ‘a London that has the previous year, when Scottish capital and global city? By 2016, brokered a new partnership between straight through with no interval, possible restrictions on Serious’ become the crossroads of the folk electronica band Lau were performers representing around the band and the choreographer meaning that nobody left the room ability to access European funding, Caribbean, India and Jamaica’, and programmed on the same bill 30 countries took part in the Lynne Page, who had been to go to the bar. and potential impacts from a a city to which, if McGregor were together with three European artists festival, including at least Angola, commissioned to devise a new dance destabilised economy on existing speaking today, could have been from jazz and DJ backgrounds: Azerbaijan, Brazil, , Cuba, piece to the accompaniment of the and future sponsors. added Europe, Africa and South Henrik Schwarz, Bugge Wesseltoft Denmark, Estonia, Finland, France, Manchester band’s music. America as well. Surely the music and Dan Berglund, the bassist with Gambia, , Guinea-Bissau, Overall, of course, the people of of jazz can only and always speak EST. As John Cumming explains, Iran, Italy, Korea, Mauritius, The the city of London voted strongly outernationally. the process behind the idea was Netherlands, Norway, Poland, to remain in the EU, with only five collaborative, not ‘top down’.

81 82 CHAPTER 5 Christian Scott at a masterclass in 2010

The London scene is so vibrant. You “ can’t do without it… For a fresh take on jazz, London is way ahead of New York. ” ANDRÉ MÉNARD, ARTISTIC DIRECTOR, MONTREAL JAZZ FESTIVAL THE LONDON JAZZ FESTIVAL IN 2016 AND 2017 THE LONDON JAZZ SCENE Tandy again: By 2016 the London Jazz Festival was London’s biggest pan-city music Some (other) things never seem to I guess technically on paper you’re festival and Britain’s largest jazz change. Writing in 1973, Ian Carr all fighting for the same gig, but An especially strong club know whether we’re in control of festival toured into the regions – festival, featuring more than 2,000 had described Britain as a ‘one- then having said that, what you programme included the UK debut it or it’s in control of us!’ guitarist Pat Metheny and the great artists and over 300 gigs in over 50 of the New York band featuring French bassist Henri Texier – and a city country’ so far as the arts were get out of having so many great In its 25th year, 2017, the festival venues to an aggregate audience of Donny McCaslin that played a key Serious collaboration with Hull Jazz concerned, whereby musicians musicians here is greater than the continued to explore an active over 100,000 people. Special events role in ’s final recording, Festival, as part of Hull’s year as UK ‘deeply committed to jazz’ usually obstacles it presents to you. commissioning programme, with included the second performances Blackstar, trumpeter Christian Scott City of Culture in 2017, included Chris tried to get to London; while new music from Terence Blanchard Charles Alexander has noticed that, of new work from Wayne Shorter and and the Bad Plus, whilst UK artists Montague’s participation project speaking in 2016, pianist Sarah (with the BBC Concert Orchestra), as well as the excellent quality of Jason Moran, as part of a continuing of all generations invigorated the History of the Coolest Instrument Tandy told us that ‘if you are serious Yazz Ahmed and Dave Maric/ the musicianship, London’s jazz association with the Jazztopad festival throughout the city, and in in the World (the electric guitar, in about it, there’s no other place to be Phronesis/Engines Orchestra (a joint musicians today have a remarkable Festival in Wroclaw, Poland, and a sometimes unusual places – from case you were wondering), and a other than London.’ commission with some of the other level of entrepreneurialism and 75th birthday celebration for revered Evan Parker at the Royal Academy new piece from an emerging Hull leading UK jazz festivals, Cheltenham The 606 Club’s Steve Rubie (who of facilitation – they are always ‘doing vocalist Norma Winstone (including of Arts, to Chris Sharkey’s mass musician, Revenu. and Manchester Jazz Festivals); course as a London jazz club owner things, organising things, getting a commissioned piece from Vince participation piece Make It/Break It. since the 1970s has both a wide and it together, using social media to Mendoza). the commissioning of a series of 25 New venues for the 2017 festival informed perspective and perhaps advance their careers Surprisingly perhaps, it has not one-page scores specially created included London’s newest theatre, Return visits by keyboardists as also something of a vested interest) and their bands.’ been part of the Serious strategy for a festival collaboration with Club the Bridge – only opened a few weeks diverse as Robert Glasper, Brad concurs, claiming that outside of consciously to grow the festival. Inégales, and Blacktop’s response before the festival – and the Electric While hustling for gigs, creating Mehldau, Geri Allen (in what, sadly New York, London has the greatest Rather, because they always want to to New York artist Jean-Michel Ballroom. Artists from Scandinavia their own opportunities, and self- proved to be her final London strength and depth of any city in reflect what is happening in London Basquiat’s jazz imagery, alongside filled a day of performances at the and collective organisation are concert), Carla Bley (with a the world in terms of world-class – a city the population of which the Barbican’s major retrospective Royal Festival Hall, as part on the longstanding hallmarks of the jazz reformed version of Charlie Haden’s musicians. is increasing in size and cultural of Basquiat’s work. year’s programme Nordic Matters, career – seen today in Britain in Liberation Music Orchestra) and Tord diversity – this has inevitably led to whilst artists from Turkey, Estonia, Keith Tippett and Matthew Bourne For him, there can never be a surfeit groups like the Loop Collective, Way Gustavsen, were another feature, the festival growing too. France and Switzerland also had a created a new piano duo; Robert of outstanding musicians in one city: Out West and the F-IRE Collective – alongside a residency from Bugge significant presence. As Amy Pearce told us, ‘I think Glasper brought a new project The reason there are so many great according to Jez Nelson there might Wesseltoft celebrating 20 years of now the desire is probably to in celebration of the 25th year, players in New York is because be less today of musicians sitting his New Conception of stop it getting too big because it reflecting his long association with there are so many great players in around asking, ‘Why don’t I get any Jazz message. becomes too much, it just becomes – and enthusiasm for – the festival. New York. So they create a bar and gigs?’ Instead, these guys – and girls The new generations included impenetrable.… I spend my life The legacy of jazz was drawn on to everybody else tries to reach that very much – make stuff happen. a double bill of saying “no” to artists and venues’, inspire new ideas – events evoking bar, jump over that bar, and that’s They’re industry savvy, they’re and selling she continued. Another telling the spirits of Thelonious Monk, John the same in London. kind of ‘start up’; they’ve got a out the Barbican; a BBC Concert and and Miles Davis punk ethos, for want of a better comment from the Serious team is Orchestra programme featuring sat alongside a study day led by phrase. They make stuff happen. from Ope Igbinyemi, who expressed new commissions from Laura Jurd Professor Catherine Tackley around They’re not just musicians, they’re his amazement at how the jazz and Daniel Herskedal; and Miguel the impact of jazz in Britain in the promoters, and they help each festival just seemed to grow and Atwood-Ferguson’s instrumental grow and grow: ‘and now I don’t 1920s and 1930s. Artists from the other out. re-working of the music of J Dilla.

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Keith Tippett channels jazz inspiration with young musicians in 2014

CONCLUSION. #JAZZIMPACT

And in a neat piece of symmetry, Of course, this book too was part of From the beginning, The London Jazz Festival launched and community. It surrounds you in John Warren’s Traveller Tales, which the 25th anniversary celebrations experimental work, in 1993 with the twin aims of a very literal sense in the form of a was commissioned for Warren’s and – with researcher in residence Dr commissions, workshops celebrating London as a jazz city and large security fence. Once you are John Surman’s the Brass Project at Emma Webster having worked and educational events all bringing high-level international jazz on site, you are inside and there is a the very first festival in 1993, made a with Serious and in their archives into the capital. The introduction to very clear sense of who is in and who welcome return – this time in league through 2015 and 2016, and her played a part in setting the the 2002 brochure, left, marking its is out. This differs from an urban, with the , and Professor George McKay agenda for a festival that 10th year, returned to that original multi-venue event like the London following the release earlier in the writing the text. The year-long would develop over the next mission statement, in a justifiably Jazz Festival, where the sense of year of a long-forgotten recording project was funded by the Arts and ten years to have an impact proud moment of self-celebration. a jazz community only becomes of the original 1993 performances. Humanities Research Council, across the whole city. It was For, yes, sometimes you are obvious at the events themselves. In terms of media presence, the through its innovative collaborative to be a jazz festival that allowed to blow your own trumpet. Instead, part of the experience of festival’s relationship with both BBC research programme Connected didn’t just have jazz in it but Through presenting a pan-cultural being at the London Jazz Festival is Radio 3 – live broadcasts of the Communities. looked at jazz’s antecedents programme that has looked to the being in London. tenth edition of the opening night past, present and future of jazz, So what does the future hold for the and connections with From the spectacular view of the Jazz Voice concert and the Jazz Now a programme that through the London Jazz Festival? As Igbinyemi Houses of Parliament, and show from the PizzaExpress club, Caribbean, Latin, African, combination of artists and venues is explained to us, perhaps it is a the at night from the as well as recordings of a number Indian and European music. distinctly and uniquely of London, case of trying to expand audiences fifth floor of the Southbank Centre, of festival shows for later broadcast Jazz was to be a touchstone, there is no doubt that the London without expanding the festival to the sudden (sub)cultural shift – and Jazz FM broadcasting live with musical ideas moving Jazz Festival has impacted on the further: ‘as big as the festival is, of walking from the shiny, glassy from the Barbican – continued to between, or colliding with, city, economically, culturally and I’m sure we could reach even more high skyscrapers of Liverpool build the festival’s reach still further. socially, and the city has, of course, people.’ He continued with a plea for other genres. What has set impacted on the festival. Street to the graffiti-ed exposed the festival itself to continue: ‘Long the festival apart has been brick of hipster Shoreditch, London live the London Jazz Festival!’ its constant attempts to Of course, an outdoor camping as a festival setting is a different mix the familiar with new, festival such as Glastonbury is more kind of immersive experience. The tradition with experiment, immersive for its participants than city itself becomes the festival one culture with another. the London Jazz Festival because site, or rather, the city hosts the you are in the festival, a constituent festival, which switches on and off 2002 FESTIVAL BROCHURE part of its temporary infrastructure depending on time and location.

85 86 CONCLUSION Front cover of 2016 London Jazz Festival brochure incorporating elements of London life

Travelling from the Barbican to the Southbank on the bus takes you past St Paul’s Cathedral, the and , crossing the Thames to Waterloo, as the Eye Smitty’s Big Band in Leyton’s TK Maxx and Parliament appear. While the as part of The Streets, November 2015 London Jazz Festival does not have the city-wide impact of, say, the London Olympics in 2012, the city does impact on the festival, both positively and negatively. It does so positively from all the benefits of being in a global city – the sights, the food, the shopping, the urban buzz – and not so positively because London is vast and getting around takes a long (sometimes tiring) time. One festival-goer told us that when thinking about festivals, or talking about them with friends: Greenfield events like do tend to come to mind. But, I’m, like, no, actually, I think the London Jazz Festival’s]’ in square brackets, i.e. actually, I think [the London Jazz Festival’s] kind of better than that, in a way, in the sense that you can go to so many different things, go to different venues, different zones. underground stations, encouraging November, the London Jazz Festival Jazz Festival has enabled the club to ought to be that this is a symptom Minnow or monster? – you decide. I mean, last year we saw Snarky exploration and creating amplifies the city’s all-year-round take more economic risks, in their of the lack of jazz funding overall, However, as Oliver Carruthers, Head Puppy at the Roundhouse [with conjunctions of sonic surprise. jazz scene and shouts from the case to charge £20 tickets, double but such a point can be lost in of Programming at East End venue 3,300 people], which is massive. rooftops that London is a jazz city: it what they usually charge, in order the attitudinal swirl of creativity, Rich Mix told us, ‘Some folk have a It might be ten Japanese baritone And then we went to see a tiny pumps oxygen into the scene, in the to bring in bigger names: ‘It opened entrepreneurial hustling and perception that it is a festival that saxophonists taking their bass-heavy quintet in Camden in a tiny little words of David Jones, and it is ‘when up the possibility of us being able to marginalisation that can be life of has a lot of money to spend, which, sound into the bustle of Marylebone jazz club. So you get such London is shining its brightest for do that, without being such a risk a British jazz musician or worker, in my experience, isn’t necessarily Station’s Dutch gables, or Moon a vast majority of things. And you jazz’, as PizzaExpress’ Ross Dines as we thought it might have been.’ something Serious and the London the case.’ Hooch transforming the polished don’t have to camp. And that’s nicely puts it. For musicians, particularly those Jazz Festival themselves recognise. civic environs of Leyton’s town hall There has also been criticism by always a plus. within the Serious camp, as well as into a multi-generational cave, Indeed, the festival has had a David Jones explains: some in the jazz community that getting paid for gigs, the educational Whether it’s to travelling to or Smitty’s Big Parade taking the significant economic impact on its the small amount of funding for jazz activities and new commissions also We tend to regard ourselves still Chelsea, then, to see The Impossible sound of New Orleans into TK Maxx, venues. For the PizzaExpress club, goes into the hands of the few, what offer other lines of potential work. as minnows, but every so often you Gentlemen or Peter King’s dancing round the aisles while for example, as Dines explained to see a look in someone’s eye and journalist Dan Spicer described as Saxophone at the 606 bemused shoppers shop for shirts – us, the Monday to Sunday of the Festivals are inherently expensive you realise that to them, you’re ‘a bit of a jazz mafia thing going on’, Club in the west or encouraging the at its best the festival can transform 2015 Festival were its ‘biggest food propositions, however, and there the monster that blocks out the in which ‘if you’re not part of that next generation of jazz fans at Jazz everyday spaces into places for and drinks sales ever, and ‘the ten is the argument that events like sun, you know, that their feeling is, circle then you don’t get the gigs. for Toddlers in Barnet’s artsdepot music, and draw in an accidental days as a total was probably the best the London Jazz Festival suck in ‘Well, however much I might enjoy You just have to look at the London in the north, the festival can take . ten days we’ve ever done.’ For Steve much of the available state funding having a drink with David or John Jazz Festival to see what I’m talking people to parts of the city which Rubie of the 606 Club, as well as and corporate sponsorship which about. Certain people get to play it London and its jazz scene are ‘on’ or somebody else, ultimately if are new to them, connecting the being a ‘shop window’, the London could be used to fund more regular over and over again.’ all the time, but for just ten days in Serious wasn’t there, I could get previously disparate islands of the grassroots projects. The argument a share of what they’ve got.’

87 88 CONCLUSION

Festival brochures on the Barbican racks In our research and discussions As John Etheridge says of his The audience enjoys the opportunity And as bassist Marcus Miller puts it: around the scene, more than one 1994 gig with Andy Summers to see and hear the classics, but I love coming to play the Jazz citizen of the jazz republic has called and Nitin Sawhney: also the new music that the festival Festival [because] they invite Serious director John Cumming Twenty years ago when it started, can offer, as one festival-goer really cool people. So when you’re ‘King John’, with usually at most that was probably quite radical... told us: hanging out in the lobby before the a half-smile, in recognition of his People might go, ‘Ooh, that’s In the early years of the festival, you show, you run into Robert Glasper. perceived power in making careers. not jazz’, but of course, now the could hear these greats who you’d Lionel Loueke, I saw all sorts of Mafia or monarchy? – again, you definition has become so broad. heard on record but you’d never guys. And we were joking and we decide. (By the way, Spicer has had Well, there is no definition – it’s just seen live. People you’ve grown up were saying, ‘Man, I never see you a terrifically creative response, of what anybody wants to call jazz, you with, and that you’ve listened to, in America! I see you in England, at which any jazz festival organiser know. So [Serious are] able to put who have influenced [you]. And the Jazz Festival!’ would only approve: he established on all sorts of areas of music that also to listen to new stuff. Then Festivals can also be opportunities the Alternative Jazz Festival, in they represent, which can loosely you’d see new developments, see for being with like-minded listeners Brighton, taking inspiration from be called jazz, whatever that is. So where new musicians are taking (but not always, as with the long running avant-garde jazz it’s the London Music Festival and their work, and you just learn all However, some argue that the Performing in the festival also puts Cassandra Wilson Royal Festival festivals such as New York’s Vision it’s jazz orientated. the time. Festival and Germany’s Moers marketing of an umbrella or ‘core’ musicians on Serious’ radar, which Hall gig in 2015 for which the Festival.) festival is inherently imbalanced. can have positive impacts both for For artists and audiences alike, the As this account has shown, however, singer’s late arrival on stage As Debbie Dickinson suggests, musicians as well as for Serious opportunity to see and hear some the London Jazz Festival is more than exposed divisions in the audience For Charles Alexander, there the idea is that everybody’s profile which, as a live music promoter, is of the world’s most accomplished just about jazz, or even simply about between those sympathetic to the can be too much repetition in the benefits, but the media and audience regularly scouting for new talent musicians is a learning activity in music. Because of their cyclical singer and those less so). London Jazz Festival programme, attention will tend to be focused to work with, develop and produce. itself and one which can lead to nature, jazz festivals can become a For Miller, the London audience with the Jazz Voice concert on the on the headline acts: ‘So if you’re a It can also be a means for young further exploration. Tommy Remon, pivot around which the rest of the is a ‘very cool audience, very same night each year, and Sonny lowly artist playing in the Bull’s Head musicians in particular to become guitarist with Tomorrow’s Warriors, year is planned. One attendee said knowledgeable about music, and Rollins seemingly ‘always there’ or whatever are you really benefiting part of the worldwide ‘jazz family’, says that ‘it gets more exciting living that the festival was ‘like an extended very passionate. And the knowledge (The Serious response to Rollins’ from that marketing?’ As she as Andy Sheppard put it to us, in in London during the London family’ of musicians and fans, and so and the passion together is very appearances three years running? acknowledges, however, the London order to survive and grow. The Jazz Festival. jazz festivals are sites for renewing powerful. It makes for a great But ‘it’s Sonny Rollins!’) Jazz Festival publicity operation is a London Jazz Festival, then, as a old acquaintances and making All of a sudden you get all of these audience, you know what I mean? Yet Alexander then qualifies this: ‘phenomenal machine’, particularly hub for national and international new ones. ‘But then I look at the rest of the for an organisation that doesn’t own festival promoters, agents, and cats from the States coming in, all You feel like they’re part of the events and I think, “Wow, this is its own venue or ticketing agency, other industry people, can provide a these amazing gigs going on.’ For For Snarky Puppy’s bassist and music.’ Indeed, as the research really interesting!”’ and, as John Etheridge puts it, ‘It platform, both on and off stage, for drummer Femi Koleoso: founder : of Shana Walton and Helen Regis does help [your] profile, because musicians to network and to display You see some of the best music you Every time we come into town we shows, jazz festivals have even For Rubie, however, the major you get in the brochure and that their musical wares. hear all year in that period of time. end up looking at the calendar been sites for transformative – achievement of the London Jazz brochure gets everywhere.’ Like, session at Ronnie’s and seeing a bunch of our friends even spiritual – experiences for Festival has been to stop jazz Furthermore, festivals act as can be really special during the jazz from all over the world playing their participants. being a dirty word, because the For emerging artists, performing catalysts for musicians to travel festival. There’s something quite at different venues. That’s the festival gets into the general in the London Jazz Festival offers a between cities and countries. If a The words of one final London special about seeing Christian Scott beautiful thing about festivals: it media and breaks down people’s concrete means of signalling their band is not yet well known enough Jazz Festival-goer capture the play a that you’re becomes like a hang for musicians preconceptions about being status and experience to other venue to sell many tickets abroad, a festival significance of the upbeat working on; it’s really quite inspiring that don’t get to see each other intimidated by jazz. ‘It gives the and festival bookers. In saxophonist can give the opportunity both to get festival spirit: to get them in that context. all the time. Yeah, [London Jazz sense that this is a London-wide Camilla George’s view, it adds to the abroad in the first place and to be It’s good that people can get Festival’s] programming’s amazing, thing,’ he says, ‘and loads of people creative and reputational portfolio of introduced to a new audience via together and it’s positive and there the venues are amazing. Serious is are going to it and it’s the sort of the artist, who is able to say: ‘“I’ve the festival’s promotional channels. ain’t much at the moment that’s wonderful; you know; they’re kind thing you should check out.’ done the London Jazz Festival with Through ‘cultural dating’ and positive! I can remember being of like our UK family, so it’s great, my own project”, yes, I think it is a new commissions, the London here, not long after 9/11. And just man, we love it. big thing.’ Jazz Festival has also acted as a feeling somehow that we have to catalyst for new compositions, new have these positive things. we really collaborations, and new pairings, need them. I think they’re crucial. helping to broaden and develop the jazz genre.

89 90 CONCLUSION ‘Music from out there, in here’ neon sign BIBLIOGRAPHY/SOURCES created in 2003 ‘200 achievements of Boris Johnson as ‘Review: Carla Bley, and Arts Council of Great Britain. 1972. Mayor of London’. 2010. Conservative Andy Sheppard at the Wigmore Hall (LJF)’. Twenty-seventh Annual Report and Home website, 2 October. Accessed 30- 2013. LondonJazzNews, 25 November. Accounts 1971/72. London: Arts Indeed, as Stuart Nicholson Jul-16. http://www.conservativehome. Accessed 28-Sep-16. http://www. Council of Great Britain. said, writing in 2014: com/localgovernment/2010/10/ londonjazznews.com/2013/11/review- Arts Council of Great Britain. 1977. Today there is a buzz about the achievements-of-boris-johnson-as- carla-bley-steve-swallow-and.html Value for Money: 32nd annual report British jazz scene that has not mayor-of-london.html. ‘We ban tobacco sponsorship of sport in and accounts. London: Arts Council of been felt since the popularity of ‘A banquet of jazz’. 1967. the UK. Let’s stub it out in the arts, too’. Great Britain. Courtney Pine, the Jazz Warriors The Observer, 15 October. 2016. The Guardian, 1 May: n.p. Arts Council of Great Britain. 1993. and Loose Tubes in the 1980s. While ‘Biography’. 2011. Soweto Kinch ‘Will the real London Jazz Festival 48th annual report and accounts few would claim working in the UK website. Accessed 30-Jul-16. http:// stand up?’ 1997. Jazz UK, November/ 1992-1993. London: Arts Council jazz economy was easy, there is www.soweto-kinch.com/soweto-kinch/ December, issue 18: n.p. of Great Britain. currently an optimism and feel- BIOG.html. ‘Wot, no riots?’ 1961. Melody Maker, Arts Council of Great Britain. 1994. good factor in British jazz that has Glyndebourne‘Classified Ad 125 -- No Title’. has 15 July: 1. 49th annual report and accounts not been felt in decades. “ 1970. The Guardian, 4 October: 26. ABRSM. 2016. ‘A history of ABRSM’. 1993-1994. London: Arts Council of been called the Great Britain. Critic Norman Lebrecht, writing in ‘Display ad 17 – no title’. 1984. ABRSM website. Accessed 30-Jul-16. the Daily Telegraph in 2001 about culturalThe Guardian, 28 Wimbledon July: 10. http://us.abrsm.org/en/about-abrsm/ Association of British Jazz Musicians. For Efunshile, at this moment the partnership between Radio 3 and‘Festivals’. seats 2016. The are New Groveas introduction-to-abrsm-our-mission- 2010. Written evidence: Funding of JAZZ IS FOR especially, London needed jazz as and the London Jazz Festival as a Dictionary of Jazz, 2nd ed. Grove Music and-team/the-history-of-abrsm/. the arts and heritage. Parliament UK website, September. Accessed 30-Jul- EVERYONE an inherently ‘outernational’ cultural ‘signpost’ of cultural change, argued covetedOnline. Oxford asMusic those Online. Oxford: Adams, Rob. 2002. ‘Tossing the Caber’. 16. http://www.publications.parliament. expression and world-view: that it was time for ‘a new breed . Accessed 30- The Herald, 19 November: n.p. Remember, jazz was described as on centre court. uk/pa/cm201011/cmselect/cmcumeds/ of curator, one that will challenge, Jul-16. http://www.oxfordmusiconline. Alternative Jazz Festival. 2016. the ‘Cinderella of the arts in Britain’ I love jazz because it’s inclusive ” writev/464/071.htm. rather than conserve.’ With Serious com/subscriber/article/grove/music/ ‘About’. Alternative Jazz Festival by Ian Carr, writing in Music Outside and democratic, and a profoundly CITEDJ148800pg3. IN GIBSON AND Atkins, Ronald. 1967. ‘London Jazz and the London Jazz Festival, it website. Accessed 21-Sep-16. in 1973, a music caught between expressive art form that reaches CONNELL 2005: 224 Festival’. The Guardian, 12 October: 6. appears that Lebrecht has got ‘History of Ronnie Scott’s Jazz Club’. http://brightonalternativejazzfestival. the art and commercial worlds. across audiences, and across his wish. 2005. Ronnie Scott’s website. Accessed com/about/ Atkins, Ronald. 1993. ‘Britain’s jazz lions However, with some very canny the barriers of class, race and 29-Jul-16. https://www.ronniescotts. earn themselves a hearing at last’. The language. And now as never before, Anderson, Charlie. 2015. ‘Dan Spicer artistic and financial management In their establishment, development co.uk/static/assets/ronnie_scotts_ interview’. Sussex Jazz Magazine, Observer, 2 May: A5. we must be committed to ensuring by Serious and the London Jazz and on-going curation of the festival, history.pdf. 1 September. Accessed 30-Jul-16. http:// Bacon, Peter. 2014. ‘Some reflections Festival, and the support of the BBC, we find ways to communicate and Serious have provided a platform ‘Jazz & world’. 2014. The Times, www.sussexjazzmag.com/?p=906. on the Jazz Services issue’. The Jazz EFG and other significant sponsors, understand each other... Music for British jazz and have played a 8 November: n.p. Breakfast website, 2 July. Accessed goes beyond words, and jazz, Anderton, Chris. 2015. ‘Branding, it may be that for ten days a year in significant creative and practical role ‘John Harle. Royal Festival Hall’. 1996. sponsorship and the music festival’. 30-Jul-16. https://thejazzbreakfast. which is the least prescriptive and London, jazz has finally progressed in the development of jazz in Europe Echoes, 30 November: n.p.. In McKay, George, ed. 2015. The Pop com/2014/07/02/some-reflections-on- from the rags of indifference to the the most flexible of forms, takes and beyond, providing funding and Festival: History, Music, Media, the-jazz-services-issue/. music to new horizons, to a space ‘Jools makes Canary swing’. 1993. riches of sponsorship and exposure. space for dialogue between the Evening Standard, 9 August. Culture. London: Bloomsbury: 199-212. Bacon, Peter. 2014. ‘South African where we can all share and enjoy musicians who ultimately create the artists at the London Jazz Festival – well Rather than being caught between ‘London’. 1995. Financial Times, Art Not Oil. 2016. BP’s cultural art, no matter who we are, or new sounds of European jazz. sort of…’ The Jazz Breakfast website, 5 the art and commercial worlds, 6 November: n.p. sponsorship: A corrupting influence. where we come from. Jazz is for In doing so, they have both reflected London: Art Not Oil Coalition. November. Accessed 30-Jul-16. https:// Serious have instead managed to everyone... I thank Serious for their ‘Minutes of Meeting between the Various thejazzbreakfast.com/2014/11/05/south- and possibly even contributed to Arts & Business. 2012. Where is create a model that is able to glide role as ambassadors for UK jazz, ‘World Music’ Record Companies and african-artists-at-the-london-jazz- London’s evolution into a dynamic private investment to the arts between worlds with confidence. We reflecting the diversity of our scene Interested Parties, Monday 29th June festival-well-sort-of/. and multicultural global city through 1987’. n.d. . Accessed going in England? London: Arts might argue that there is also via the here in their programming, and fRoots website Banning-Lover, Rachel. 2017. mixing, blending and ‘Londonising’ 30-Jul-16. http://www.frootsmag.com/ & Business. Accessed 30-Jul-16. London Jazz Festival a shift evident communicating this to international ‘Is London no longer the place to be?’ music from out there, in here, content/features/world_music_history/ http://artsandbusiness.bitc.org.uk/ in some ways in this ‘Cinderella The Guardian, 24 July. Accessed 12-Sep- producers, many of whom visit the making it also music from in here, minutes/page03.html. sites/default/files/kcfinder/files/ of the arts’ status. We can sense festival. Thanks to Serious and artsandbusiness/artsandbusiness-pics- 17. https://www.theguardian.com/uk- out there. ‘Music: Preview - My Jamaican guise; this in the warm words articulated other organisations, the United graphics-201112.pdf. news/2017/jul/24/is-london-no-longer- The big beats of Gary Crosby’s Jazz by Althea Efunshile, Deputy Chief Kingdom is a strong international the-place-to-be. Jamaica’. 2001. , Arts Council England. 2016. ‘Our Executive of Arts Council England, Time Out Barbrook, Richard. 1990. ‘Melodies voice in jazz. It’s a voice with which 7 November: 9. history’. Arts Council England website. in her speech at the launch party we talk to the world and invite Accessed 30-Jul-16. http://www. or rhythms? The competition for the ‘Record label PR file: Dune Records’. for the 2016 festival. the world into conversation. It’s a artscouncil.org.uk/who-we-are/history- Greater London FM radio licence’. 2007. , 31 January. The Independent arts-council/. Popular Music 9(2): 203-219. powerful voice, saying that London Accessed 30-Jul-16. http://www. Baum, Greg. 2012. ‘The verdict: it’s been is open – and that we as a nation independent.co.uk/arts-entertainment/ Arts Council of England. 1995. a right bang-up job’. Sydney Morning are open. music/features/record-label-pr-file- Review of Jazz in England. London: Herald, 13 August. Accessed 30-Jul-16. dune-records-434456.html. Arts Council of England. http://m.smh.com.au/olympics/news- london-2012/the-verdict-its-been-a- right-bangup-job-20120812-242we.html.

91 92 BIBLIOGRAPHY /SOURCES CONTINUED Bazaraa, Danza. 2014. ‘Huge crowds Burrell, Ian. 2010. ‘Courtney Pine— Connarty, Michael. 2010. Westminster Desert Island Discs. 2004. ‘Hugh EFG London Jazz Festival. 2016. ‘Our Fordham, John. 2011. ‘Graham Collier expected at 30th Ealing Jazz Festival’. “I became one of the most hated Hall Sitting (Commons) of Tuesday Masekela’. BBC Radio 4, first broadcast history’. London Jazz Festival website. obituary’. The Guardian, 14 September. Getwestlondon, 14 July. Accessed saxophonists of all time”’. The 15 February. 16 July. Accessed 1-Apr-16. http://www. Accessed 30-Jul-16.www.efglondon Accessed 30-Jul-16. http://www. .co.uk/programmes/p00938bc. theguardian.com/music/2011/sep/14/ 30-Jul-16. http://www.getwestlondon. Independent, 12 November. Accessed Cowley, John, Jeffrey Green/Howard jazzfestival.org.uk/about/our-history graham-collier-obituary. co.uk/news/local-news/huge-crowds- 30-Jul-16. http://www.independent. Rye. ‘Johnson, Ken “Snake Hips”’. The Doffman, Mark. 2013. ‘The Tomorrow’s Efunshile, Althea. 2016. ‘“Music expected-30th-ealing-7421192. co.uk/arts-entertainment/music/ New Grove Dictionary of Jazz, 2nd ed. Warriors jam sessions: repertoires of beyond words” – Althea Efunshile Fordham, John. 2012. ‘It’s time to let jazz BBC News. 2000. ‘”River of fire” dubbed features/courtney-pine-i-became-one- Ed. Barry Kernfeld. Grove Music Online. transmission and hospitality’. Black launches the EFG London Jazz fans record the show’. The Guardian, 24 a flop’.BBC News website, 1 January. of-the-most-hated-saxophonists-of-all- Oxford Music Online. Oxford: Oxford Music Research Journal, 33(1): 71-89. Festival’. Arts Council England website, November: n.p. time-2131529.html. Accessed 30-Jul-16. http://news.bbc. University Press. Accessed 07-Apr-16. Drewett, Michael. 2006. ‘The cultural 15 September. Accessed 21-Sep- Fordham, John. 2012. ‘Jazz & world’. co.uk/1/hi/uk/587071.stm. Byrnes, Sholto. 2002. ‘If it walks like a http://www.oxfordmusiconline.com/ boycott against apartheid South Africa: 16. http://www.artscouncil.org.uk/ The Guardian, 3 September: 16. duck and quacks like a duck, don’t just news/%E2%80%9Cmusic-beyond- BBC Radio 3. 2009. ‘Julian Joseph on subscriber/article/grove/music/J232900. A case of defensible censorship?’ In Fordham, John. 2012. ‘Take five: John call it a bird’. Evening Standard, words%E2%80%9D-%E2%80%93- the London Jazz Festival’. BBC Radio Crosby, Gary. 2016. ‘History’. Gary Crosby Popular Music Censorship in Africa, Fordham’s month in jazz—October’. 24 November: n.p. althea-efunshile-launches-efg-london- 3 YouTube channel, 15 June. Accessed website. Accessed 30-Jul-16. https:// edited by Michael Drewett, Martin The Guardian, 2 November: n.p. 7-Oct-2016. https://www.youtube.com/ Byrnes, Sholto. 2003. ‘Jazz: What if Cloonan. Aldershot: Ashgate: 23-38. jazz-festival garycrosbybass.com/history/. Fordham, John. 2012. ‘London jazz watch?v=1H78VeoEO2c ruled the world and jazz-pop Eyre, Hermione and Sophie Morris. Culshaw, Peter. 2008. ‘Touching tribute Duby, Marc. 2016. ‘“Säd Afrika”: Django festival 2012: big bands blow the went to hell?’ Independent on Sunday, 2003. ‘Top 20 most influential groovers Bell, Clive. 1999. ‘History of the LMC’. to a pioneer pianist’. The Daily Telegraph, Bates and the South African imaginary away the competition’. The Guardian, 23 November: 13. and shakers in the music industry’. Variant, vol. 2, no. 8: 1-5. 19 November: 29. 1985-2014’. Jazz Utopia conference, 19 November. Accessed 30-Jul-16. Independent on Sunday, Bishop, Tom. 2003. ‘Jamie Cullum Byrnes, Sholto. 2003. ‘Pandora’. Birmingham City University, 15th April. https://www.theguardian.com/music/ Cumming, John. 2013. London Jazz 21 September: 2-3. jazzes up music scene’. BBC News The Independent, 21 November: n.p. Festival souvenir magazine. London: Durkheim, Emile. 2001. The Elementary musicblog/2012/nov/19/london-jazz- Online, 30 December. Accessed 30- Byrnes, Sholto. 2003. ‘Talking jazz’. Serious: 8. Forms of Religious Life. Oxford: Oxford Fairweather, Digby and Simon Adams. festival-big-bands 2001. ‘Loose Tubes’. In The New Grove Jul-16. http://news.bbc.co.uk/1/hi/ The Independent, 7 November: n.p University Press. Fordham, John. 2013. ‘21 years of the Cumming, John. 2016. ‘In conversation Dictionary of Jazz, 2nd ed., edited by entertainment/3325139.stm. Carr, Ian. 2008/1973. EFG London Jazz Festival. 2010. ‘Robert London Jazz festival: 21 key moments’. Music Outside: with the festival directors’. Researching Barry Kernfeld. Grove Music Online. Blatchford, Christie. 2012. ‘Cheers , 2nd ed. Glasper at the London Jazz Festival’. The Guardian, 6 November. Accessed Contemporary Jazz in Britain (jazz) festivals: A day of discussion and Oxford Music Online. Oxford: Oxford to you, Britain: London 2012 may London, Northway. 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The Frith, Simon, Matt Brennan, Martin london-property-prices-fuelling-exodus- Davis, Clive. 1999. ‘The dirty word that watch?v=xsPjLVSMZOA Guardian, 17 May: 7. Cloonan and Emma Webster. 2013. The from-capital. Clegg, Nick. 2011. ‘Deputy Prime has become respectable’. The Times, 18 EFG London Jazz Festival. 2014. History of Live Music in Britain, Volume I: Minister’s speech to MEDEF.’ Fordham, John. 1995. Jazz Man: The Booth, Robert. 2016. ‘Politicians GOV. June: n.p. ‘Marcus Miller highlights | EFG London 1950-1967: From Dance Hall to the 100 , 8 July. Accessed 30-Jul- Amazing Story of Ronnie Scott and His condemn 60% ownership of London UK website Jazz Festival 2014’. EFG London Jazz Club. Farnham: Ashgate Publishing Ltd. 16. https://www.gov.uk/government/ Davis, Clive. 2000. ‘Jazz? What jazz?’ Club. 2nd ed. London: Kyle Cathie Ltd. skyscraper’. The Guardian, 25 May: n.p. The Times, 14 November: n.p. Festival YouTube channel, 17 November. 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Evening , 2 Feb. Accessed 30-Mar- University Press. Press. Accessed 29-Mar-16. http://www. BBC Radio 4 channel, 21 November. Accessed 19- Fordham, John. 2002. ‘Magical mix-up: Standard, 7 July. Frith, Simon. 2007. ‘Is jazz popular oxfordmusiconline.com/subscriber/ 16 http://www.bbc.co.uk/programmes/ Sep-16. https://www.youtube.com/ hip hop, drum & bass and a bunch of music?’ , 1(1): 7-23. Bunce, Kim. 1999. ‘Life support’. article/grove/music/18690 p009n11m. watch?v=oRQgQwoSGeY Norwegians made 2002 the year jazz Jazz Research Journal The Observer, 14 November: G78. Frost Fadnes, Petter and Christophe de Coman, Julian. 2013. ‘Margaret Desert Island Discs. 1984. ‘John EFG London Jazz Festival. 2015. ‘First came back with a bang’. The Guardian, Bezenac. 2013. ‘Historical overview of Bungey, John. 2001. ‘Jazz Jamaica All Thatcher: 20 ways that she changed Surman’. BBC Radio 4, 12 October. weekend highlights | EFG London 19 December: A16. 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93 94 BIBLIOGRAPHY /SOURCES CONTINUED Gayford, Martin. 2010. ‘Sonny Rollins, Hesmondhalgh, David, Melissa Nisbett, Jaggi, Maya. 2000. ‘Fusion visionary’. Large, Pete and Suzanne Dunsmith. Lyttelton, Humphrey. 2008. Last Chorus: McKay, George. 2003. ‘“Unsafe things London Jazz Festival, review’. The Daily Kate Oakley and David Lee. 2015. ‘Were The Guardian, 30 September: B6. 2014. ‘Subnational population An Autobiographical Medley. London: like Youth and Jazz”: Beaulieu Jazz Telegraph, 22 November. Accessed New Labour’s cultural policies neo- Jazz à Vienne. 2016. Press release. projections for England: 2014-based JR Books. Festivals (1956-61), and the origins 30-Jul-16. http://www.telegraph. liberal?’ International Journal of Vienne: Jazz à Vienne. projections’. Office for National McLean, Ian. 1962. ‘The McLean festival’. of pop festival culture in Britain’. co.uk/culture/music/live-music- Cultural Policy, 21(1): 97-114. Statistics website, 25 May. 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97 98 George, Camilla. 2016. Personal Rodger, Jill. 2009. Personal interview, INTERVIEWS interview, London, 27 May. Camilla is Glasgow, 30 October. Jill Rodger is PICTURE CREDITS AND SOURCES a saxophonist with the Camilla George Director of Glasgow Jazz Festival; her Interview material is used Quartet and with Tomorrow’s Warriors. interview forms part of Emma Webster’s Front Cover ‘Snarky Puppy performing p. 32 ‘Front cover of Moving Forward p. 61 from Mick Shenton. at the Roundhouse 18 November leaflet for September to November Used with permission. throughout the book. Gordon, Christopher. 2016. Email doctoral research. 2014’ from Emile Holba. Used 1990’ from Serious archive. p. 62 ‘Paco De Lucia 2012’ from Emile Ahmed, Yazz. 2015. Telephone interview, correspondence, 8 July. Christopher Rubie, Steve. 2016. Personal interview, with permission. p. 32 ‘Keith Jarrett with Gary Peacock Holba. Used with permission. 14 December. Yazz Ahmed is a British- Gordon was the Arts Officer for Camden London, 16 May. Steve Rubie is a flautist p. 10 from Andrew Pothecary. and Jack DeJohnette programme, 1992’ Bahraini trumpet player who first from 1973-77; he is now an independent and saxophonist and has been the owner p. 62 ‘‘Music from out there, in here’ - Used with permission. from Serious archive. performed at the London Jazz Festival consultant and university lecturer in and manager of Chelsea’s 606 Club Access All Areas pass from in 2012. international cultural policy in the UK and since 1976. p. 13 Public domain, via Wikimedia. p. 33 from National Jazz Archive. 2004 London Jazz Festival’ from in continental Europe. Serious archive. Alexander, Charles. 2016. Telephone Sheppard, Andy. 2016. Telephone p. 14 from Tony Whyton p. 35 from Serious archive. interview, 31 March. Charles Alexander Igbinyemi, Ope. 2016. Personal interview, interview, 18 May. Andy Sheppard is a personal collection. p. 36 ‘BBC Radio 3 advert on back of p. 64 from Serious archive. ran the Jazz Centre Society from 1973- London, 19 May. Ope Igbinyemi is Serious’ British jazz saxophonist and saxophonist p. 15 from National Jazz Archive. 1993 brochure’ from Serious archive. p. 65 from Serious archive. Associate Director of Finance who joined who first played the London Jazz Festival 1982, produced shows for Camden p. 17 from National Jazz Archive. p. 36 ‘Flyer for 1994 programme at p. 66 from George McKay. Jazz Week, and founded Jazzwise Serious in 2000. in 1993 and has performed with artists including Carla Bley and Jazz Jamaica p. 18 from George McKay Bloomsbury Theatre’ from p. 67 from Serious archive. Publications in 1984. Jones, David. 2016. Personal interview, Serious archive. London, 11 February. David Jones is a over the years as well as with his p. 19 CC-BY-SA 2.0, via Flickr. p. 69 from Serious archive. Andrews, Kerry. 2016. Email Saxophone Massive. p. 38 from Serious archive. correspondence, 17 June. Kerry Andrews Director of Serious, producers of the Photographer: vjlawson2001. p. 70 from Serious archive. London Jazz Festival. Prior to this, David Shorter, Wayne. 2016. Telephone p. 39 from Serious archive. is the Artistic Director for artsdepot. p. 20 1988 Soho Jazz Festival souvenir p. 71 ‘2007 We All Love Ella’ ran the Crossing the Border Festival and interview, 23 September. Wayne programme. PizzaExpress via p. 40 from Serious archive. from Serious archive. Burch, Bex. 2016. Telephone interview, music promotion company Speakout Shorter is an American saxophonist Ross Dines p. 41 ‘Screenshot from Ten Days that 11 January. Bex Burch is band leader before it merged with Serious, and was who first played at the London Jazz p. 71 ‘Shingai Shoniwa performing at p. 20 Advert for Soho Jazz Wednesdays Shook Soho’ Prod. Steve Cleary and and percussionist of Vula Viel. manager of Ivor Cutler from 1976-2006. Festival in 1995. Jazz Voice at the London Jazz Festival from Ronnie Scott’s brochure, Rob Lemkin. Wadham Films. 1986. 2011’ from Emile Holba. Used with Carruthers, Oliver. 2016. Email Koleoso, Femi. 2016. Personal interview, Talkington, Fiona. 2016. Email Nov-Dec 2015 p. 41 ‘25 years of David Sinclair’s jazz permission. correspondence, 24 June. Oliver London, 27 May. Femi Koleoso is a correspondence, 19 October. Fiona P. 21 Screenshot from ‘Jazz On A photography celebrated in an exhibition Carruthers is Head of Programming drummer with the Ezra Collective and Talkington is a music journalist p. 73 from Serious archive. Summer’s Day’. Dir. Aram Avakian and as part of the 2015 London Jazz at Rich Mix. Tomorrow’s Warriors who first performed and BBC Radio 3 presenter, who Festival’ from Serious archive. p. 74 from Serious archive. Crosby, Gary. 2016. Personal interview, Bert Stern. New Yorker Films, 1960. at the London Jazz Festival in 2013. has also curated festivals and events p. 75 from Emile Holba. London, 27 May. Gary Crosby was the p. 22 from AAM Archives. Used p. 42 from George McKay. Mackness, Kerstan. 2016. including notably partnering of UK Used with permission. bass player in Jazz Warriors and now in and Norwegian musicians. with permission. p. 43 ‘London Jazz Festival 1994 Telephone interview, 20 September. p. 77 Emile Holba. Used with Jazz Jamaica, as well as setting up jazz P. 23 from ‘Barbara Thompson in brochure, featuring black hackney Kerstan Mackness is the manager Tandy, Sarah. 2016. Personal interview, permission. education charity Tomorrow’s Warriors of GoGo Pengion. London, 27 May. Sarah Tandy is a pianist Concert’. Dir. Mike Dibb. BBC4, 2012. carriage’ from Serious archive. and Dune Music; he was awarded an OBE p. 79 from Serious archive with Tomorrow’s Warriors and the p. 24 from Bracknell Jazz Festival/ p. 43 ‘London Jazz Festival 1995’ in 2009. Mead, Steve. 2016. Telephone interview, 6 January. Steve Mead is the Artistic Camilla George Quartet. Camden Jazz Week, via John Cumming. from Serious archive. p. 81 from Emile Holba. Cumming, John. 2001. Interview with Used with permission. Director of Manchester Jazz Festival. Whitaker, Claire. 2016. Personal p. 25 ‘Camden Jazz Week, 1974 p. 44 from Serious archive. Andrew Simons, , London, interview, London, 21 April. Claire programme’ from Bracknell Jazz p. 83 from Emile Holba. 7 September. John Cumming is a Nelson, Jez. 2016. Telephone interview, p. 47 from Serious archive. Whitaker is a Director of Serious, Festival/Camden Jazz Week, via Used with permission. Director of Serious, producers of the 12 May. Jez Nelson is a DJ and p. 48 Asian Dub Foundation advert broadcaster and the CEO of content producers of the London Jazz Festival. John Cumming. p. 85 from Serious archive. London Jazz Festival. Prior to this, he Prior to this, Claire worked for Natwest for London Jazz Festival 1997’ from production company, Somethin’ Else; p. 25 ‘Camden Jazz Festival leaflet, p. 87 from Emile Holba. worked in theatre before producing both and Decca and was Director of the Serious archive. the Bracknell Jazz Festival from 1975- Jez presented the London Jazz Festival’s 1983’ from Bracknell Jazz Festival/ Used with permission. live opening night broadcast from African arts festival, africa95, from 1991- p. 49 ‘Jazz From Norway 1996 brochure’ 1987 and Camden Jazz Week from 1978- Camden Jazz Week, via John Cumming. p. 89 from Emile Holba. 2003 to 2015. 1995; she was awarded an OBE on 2015. from Serious archive. 1992; he was awarded an OBE in 2014. P. 25 Screenshot from ‘Louis Moholo Used with permission. Ollerenshaw, Martel. 2016. Personal Wiegold, Peter. 2016. Telephone interview, p. 50 ‘1998 LJF The Wire ad’ from Cumming, John. 2016. Personal African Drum Ensemble at the Camden p. 91 from Emile Holba. interview, London, 29 September. Martel 13 May. Peter Wiegold is Professor of Serious archive. interviews, London, 11 February, Jazz Festival 28 October 1981 - Used with permission. Ollerenshaw joined Serious in 2002 and, Music Brunel University, Director of Roundhouse, London’. Prod & Dir. Mike p. 51 from Serious archive. 3 May. See above. Club Inegales, Director of the Institute when she left the company in 2017, was Dodds. Associates Film Productions for p. 52 ‘London Electricity New Audiences p. 92 from Emile Holba. Dickinson, Debbie. 2016. Personal of Composing, and the Scottish National Serious’ Associate Director of Talent Channel 4, 1983. as part of London Jazz Festival 1999’ Used with permission. interview, London, 24 March. Debbie Orchestra’s Alchemy ensemble. Development. p. 26 ‘Poster for Contemporary Music from Serious archive. p. 94 from Serious archive. Dickinson is Programme Director of On Wednesday 14th September 2016, a Pearce, Amy. 2016. Personal interview, Network leaflet for John Surman’s p. 52 ‘Jazz Jamaica All-Stars p. 95 Screenshot from ‘The Streets 2015 the Creative Industries course at City ‘wine and memories’ event was held at University, London; she was the London London, 19 May. Amy Pearce joined Brass Project, 1984’ from Bob Linney. programme 2001’ from Serious archive. overall highlights’ on the Serious Live Serious in 2000 and, when she left the the Serious HQ in Clerkenwell, which Music YouTube channel., 2015. Jazz Festival co-ordinator from included current and old staff members p. 26 ‘Front cover of Ally Pally ‘79 p. 53 from Serious archive. 1995 to 2000. company in 2017, was Associate Director programme (Capital Radio Jazz p. 96 from Emma Webster. of Production. – thanks to all those who took part: Amy p. 57 from Serious archive. Dines, Ross. 2016. Personal interview, Coombe, John Cumming, Rachel Daniel, Festival), organised by George Wein’ p. 98 from Serious archive. Remon, Tommy. 2016. Personal interview, p. 58 from Serious archive. London, 6 May. Ross Dines is the Louise Dennison, Sophie Hewlett, Ope from National Jazz Archive. London, 27 May. Tommy Remon is a Back cover ‘Cheltenham Jazz Festival, Music Manager for PizzaExpress. Igbinyemi, Isabelle Knight, Jess Knights, p. 26 ‘Bracknell back cover Capital Jazz p. 59 from Serious archive. guitarist with Tomorrow’s Warriors. Jazz Garden festival signpost, 2014’ Etheridge, John. 2016. Telephone David Jones, Tom McNeill, Rachel Millar, 82 advert’ from National Jazz Archive. p. 60 from Roger Thomas. Used from George McKay interview, 25 April. John Etheridge is Cameron Reynolds, Debbie Sargent, and p. 29 from Serious archive. with permission. Mick Shenton. a guitarist who first performed at the p. 31 from Serious archive. London Jazz Festival in 1993 with the Vortex Superband. 99 100 INDEX

100 Club 13 BBC Concert Café OTO 77 Cumming, John 1-2, 12, 14-20, Flamingo Club 13, 31 Hamilton, Andy 31, 61 606 Club 12, 56, 77, 83, 87 Orchestra 71, 83, 84 Callender, George 22-26, 28-31, 35, Floating Festival of Hammersmith Apollo 22 Adderley, Nat 29 Beats & Pieces 62 ‘Red’ 17 38-39, 43, 45, Jazz (London) 10-11 Hammersmith Palais 58 51-52, 57, 59, Adewale, Adriano 70, 76 Beaulieu Jazz Festival 8-11, 17 Camden Festival Floral Hall (Royal Hancock, Herbie 3, 40, 59, 69, 79 61-62, 68, 73-75, africa95 39 Berg, Bob 29 (formerly St Pancras Opera House) 35 Hare, David 15 Arts Festival) 17-18 81, 89 Ahmed, Yazz 38, 53, 84 Berglund, Dan 81 Florida, Richard 24 Harle, John 41, 71 Camden Centre 18 Cutler, Ivor 23, 29 Ajileye, Richard 75 Berlin, Irving 64 Fontaine, Dick 21, 34 Harriott, Joe 10, 12, 58 Camden Jazz Week/ Daily Mail International Akinmusire, Ambrose 83 Bilk, Acker 9, 10, 29, 61 Fordham, John 3, 29, 41, 73-74 Harris, Wee Willy 15 Festival 12, 14, 17-19, 22- Jazz Festival 11 Alexander, Charles 17, 20, 83, 89 Birmingham Forge, Patrick 32 Harvey, Adrian 69 23, 26, 34, 58-59 Daniel, Lewis 63 Alexandra Palace Jazz Festival 24 Forum, The 33 Havers, Richard 35 Carr, Ian 26, 83, 91 Dankworth, Sir John (‘Ally Pally’) 15, 19-20 Bjornstad, Ketil 35 Foster, Paul 14 Hawkins, Alexander 75 Carruthers, Oliver 88 (Johnny) 10, 19, 61, 68 Allen, Geri 83 Black, Jim 71 Foxes 64 Hawkins, Edu 34 Carter, Ron 14 Stapleton, Dave 76 Alternative Jazz Blakey, Art 18, 21, 32, 34, 39, Foyles (Bookstore) 63 Davis, Miles 8, 39, 84 Heckstall-Smith, Dick 31 48, 58 Cartwright, Deirdre 37, 40 Festival 89 Freeman, Chico 17 Henriksen, Arve 66 Cheltenham Jazz de Lucia, Paco 55, 69 Ama, Shola 59 Blanchard, Terence 56, 61, 80, 84 Frisell, Bill 34 Festival 20, 24, 38, 43, 84 Dedication Orchestra 71 Herbert, Matthew 58 Andersen, Arild 40 Bley, Carla 16, 22, 59, 68, 70, Frith, Simon 9, 44 Chisholm, George 16 DeJohnette, Jack 69 Heritage Orchestra 58 Anderson, Carleen 64, 70, 77 83 Garbarek, Jan 16, 17, 25, 40, 66, Ciro’ DeLaria, Lea 64 Herskedal, Daniel 84 Anderson, Laurie 66 Bloomsbury Festival 23 69, 75 Clark, Pete 13 Delmar, Elaine 30 Hewett, Ivan 60, 71 Anderton, Chris 73 Bloomsbury Theatre 23, 30-31, 34-35 Gardot, Melody 64, 69 Clark, Philip 53 Delta Rhythm Kings 29 Hilliard Ensemble 66, 75 Apache Indian 32 Blue Note Garland, Tim 40 Clarke, Ken 36 Deppa, Claude 21, 22 Hipsters, The 35 (fka Bass Clef) 32 Garner, Eric 61, 81 Armstrong, Louis 34, 35 Hobsbawm, Eric 8, 66 Bluesfest (London) 43 Clarke, Stanley 17 Dickinson, Debbie 24, 37, 78, 89 Art Ensemble Garrick, Michael 58 Clayton, Buck 8 Dines, Ross 13, 87 Holborn Library Hall 17 of Chicago 14, 16, 18, 36 Boizot, Peter 13 Gee, Jonathan 53 Clore Ballroom Dingwalls 32, 57 Holdsworth, Allan 17 artsdepot 59, 63, 87 Bollani, Stefano 58, 59 Gelly, Dave 16-17 Holland, Jools, Bourne, Matthew 54, 57, 67, 84 (Royal Festival Hall) 52, 76 Donne, John 35 Asian Dub Foundation 30, 41 George, Camilla 89 Bigger Band Revue 29, 61 Bowden, Chris 33 Clowes, Trish 38, 71 Drecker, Aneli 35 Atkins, Ronald 29 Gerry Mulligan Band 68 Holliday, Billie 35 Bowie, David 84 Club Eleven 58 Dyer, Bokani 75 Atwell, Winnie 59 Gershwin, George 64 HQ Club 33 Boy George 64 Club Inégales 71, 84 Ealing Jazz Festival 24 Atwood-Ferguson, Ghosh, Arun 69, 76 Hughes, Langston 35, 61 Cochrane Theatre 17 Earlswood Jazz Miguel 84 Boyle, Mark 14 Giant Steppes 37 Coldcut 33 Festival 9 Hull Jazz Festival 84 B, Katy 59 Bracknell Jazz Festival 12, 15-21, 24, 26, Gibbs, Mike 12 Hull, Rod & Emu 15 28, 29, 75 Coleman, Ornette 17, 58, 68 East London Creative Bad Plus, The 56, 58, 84 Gilbert, David 6 Collier, Graham 12, 15, 16, 20, 71 Jazz Orchestra 53 Hutcherson, Bob 56 Badly Drawn Boy 65 Bradley, Lloyd 32 Gill, Mick 8 Hutchings, Shabaka Bradwell, Mike 73-74 Collier, Jacob 80, 81 E-Collective 61 Bag O’Nails 7, 13 Gillespie, Dizzy 8, 39 (Sons of Kemet) 71, 76 Brecker, Michael 17, 41 Coltrane, Alice 84 Edgar, David 15 Bailey, Derek 12 Gillett Square 59 I Visionari 58 24 Coltrane, John 37, 59 Efunshile, Althea 91 Baker, Chet 18 Glasgow International Iain Ballamy 20, 66 Brenton, Howard 15 Coltrane, Ravi 59 Electric Ballroom 32, 84 Balanescu Quartet 23 Jazz Festival 4, 24, 39, 74 Ibrahim, Abdullah , The 84 Colyer, Ken 10, 13 Elite Swingsters, The 39 Bang, Jan 35 Glasper, Robert 33, 47, 53, 58, 63, (Dollar Brand) 14, 18, 29, 68, 75 Bridgewater, Dee Dee 64, 75 Conn, Stewart 15 Elling, Kurt 75 Banks, Tony 15 68, 76, 80, 83, 84, ICA (Institute of Connarty, Michael 61 Ellson, John 18, 23 Baptiste, David Jean 30 British Festival of Jazz 8 90 Contemporary Arts) 23 Cook, Richard 43 Emperor Rosko 15 Baptiste, Denys 22, 43, 57, 68 Britten Sinfonia 30 GoGo Penguin 33, 35, 56, 81 Ice-T 61 Corea, Chick 40, 59, 79 Engines Orchestra 84 Barber, Chris 61 Broonzy, Big Bill 8 Goldfarb, Michael 13 Igbinyemi, Ope 84-85 Costello, Elvis 41, 71 Eno, Brian 66 Barbican 30, 35-36, 53, 55, Brown, Yolanda 59 Gordon, Christopher 17-18 Impossible Ensemble Denada 62 58, 61, 63, 67, 69, Brubeck, Dave 8 Cotterrell, Roger 12 Goulding, Ellie 47 Gentlemen, The 87 EST 67, 81 77, 79, 81, 83-85, Bruce, Jack 17 Cotton, Mike 10 Grand Union 31, 37, 71 Inglis, Ian 61 Etheridge, John 30, 89, 90 87 Buckley, Jules 76 Cowley, Neil 63 Granz, Norman 8 International Festival Barker, Guy 61, 64 Buckley, Steve 71 Crosby, Gary 14, 21, 22, 31, 34, Evora, Cesaria 68 Grimes, Carol 3, 75 de Jazz (Paris) 8 Bartsch, Nik 58, 68 Buckshot Le Fonque 36 37, 45, 46, 48, 52, Ezra Collective 67 Groove Collective 33 Irons, Janine 61, 74 58, 61, 74 Basquiat, Jean-Michel 84 Bukem, LTJ 33 Fabric 33 Guest Stars, The 37 Isungset, Terje 66 Crossing the Border Batchelor, Chris 71 Bull’s Head 12, 77, 89 Facey, Nathaniel 71 Gustavsen, Tord 56, 59, 83 Jade Fox 57 Festival of World Music Bates, Django 20 Burch, Bex 56 Festival of Britain 8 Haden, Charlie 16, 83 Jamelia 64 (London) 22, 28 Bath Festival 43 Cabbage Boy 33 F-IRE Collective 83 Hague, Myrna 61 Jarrett, Keith 25, 40, 72-3 Cullum, Jamie 47, 55, 56, 57, 64, 23 Fitzgerald, Ella 64 Cadogan Hall 35, 59 67, 79 Hall, Jim 30 Jarry, Alfred 14

101 102 INDEX CONTINUED

Jazz and Beats 52 Laine, Cleo 61, 68 McCaslin, Donny 84 Blues) Festival 6, 10-11, 16 Punkt Festival 35, 66 Russell, George 36, 19 Jazz Café, The 31, 63 Lau 81 McFarlane, Zara 76 Natural History Purcell Room 35, 55, 58, 62 Rypdal, Terje 16, 40 Jazz Expo ‘67 11 Lauren, Jessica 38 McGregor, Chris 12, 18, 82 Museum 63 Queen Elizabeth Hall 16, 30, 52, 67, 76 Sade 20 Jazz Jamaica All Stars 45 Lawley, Sue 22 McKay, George 1-2, 8-9, 38, 46, N’Dour, Youssou 41 Rabbia, Michele 71 San Remo Jazz Lunacy (London) 24 Lawrence, Helen 17-18 59, 85 Nelson, Jez 32-33, 42, 51, 56, Rahman, A. R. 30 Jazz Festival 8 Jazz Messengers 21-22, 48 Lawrence, Stephen 45 McKenzie, Andrew 28-29 67, 72, 83 Ranaldo, Lee 34 Sanborn, David 57 Jazz on the Streets Lawson, Jarrod 30 McKenzie, Kevin 54 Newport Jazz and Randall, Freddy 8 Sandford, Jeremy 9 Folk Festival 8, 11, 16, 19 (London) 43 League, Michael 90 McLean, Ian 10 Ranglin, Ernest 31, 61 Sawhney, Nitin 30, 41, 61, 75, 90 Newton, James 17 Jazz sous les Lebrecht, Norman 51, 91 McLeod, Rory 22 Rattray, Brenda 75 Saxophone Summit 87 Nice Jazz Festival 6, 8, 19, 43 Pommiers Leonard, Sarah 71 McLoughlin, Diane 37 Ray, Rita 52 Scala 47, 81 (Coutances, France) 71 Nicholson, Stuart 12, 16, 39-40, 91 Lewis, John 48 McMillan, Ian 66 Reader, Eddi 65 Schwarz, Henrik 81 Jazz Warriors 21-2, 25, 46, 91 North London Jazz Leyton Town Hall 87 Meadows, Phil 71 Reading Rock/Festival 11 Scissor Sisters 69 Jazztopad Festival Festival (aka Just Jazz) 28 Liberation Music Mehldau, Brad 52, 68-9, 83 Rebirth Brass Band 3 Scofield, John 41 (Wroclaw) 83 North Sea Jazz Orchestra 83 Melford, Myra 71 Red Rose 37 Scorch Trio 54 Jegede, Tunde 29 Festival 19, 43, 48, 77, 78 Lightfoot, Terry 10 Melly, George 61 Redfern, David 34 Scott, Christian 73, 84, 90 Johnson, Boris 63 8, 12 Lilian Bayliss Theatre 30 Ménard, André 83 Redman, Joshua 68 Scott, Ronnie 7, 19, 58 Johnson, Linton Kwesi 43 Nu Troop II 52 Little Theatre Club 13 Mendoza, Vince 83 Reeves, Diannee 43 Seglem, Karl 66 Johnson, Phil 57 Nye, Robert 15 Living Time Orchestra 19, 36 Merseyssippi Jazz Regis, Helen 90 Segue, Bembe 58 Jones, Claudia 8 Nyman, Michael 23, 25 Livingstone, Ken 59 Band 10 Reich, Steve 25, 30 Sharkey, Chris 76, 84 Jones, David 22-23, 25, 28, 31, Oakes, Steve 24, 42 London Afro Bloc 3 Metheny, Pat 17, 40, 67, 84 Reinhardt, Django 40 Shaw Theatre 18 35-36, 38-39, 42, O’Day, Anita 14 London Sinfonietta 30, 66 Miki & Griff 15 Reinhardt, Max 52 Shaw, Ian 37, 64 44, 54, 58, 69, 78, Old Place, The 13 Loop Collective 83 Miller, Marcus 71, 90 Reith, Lord 7 Shepard, Sam 14 87-88 Ollerenshaw, Martel 76, 82 Loose Tubes 20, 25, 46, 91 Millfield Theatre 61 55 Shepherd’s Bush Jordan, Louis 64 Ometan, Priscilla 57 Louecke, Lionel 59, 90 Millican, Peter 66 Remon, Tommy 90 Empire 33 Jordan, Ronny 29, Original Dixieland Mingus, Charles 14, 17 Shepp, Archie 56 Jordan, Sheila 56 Love Supreme Festival Jazz Band 6, 58 Revenu 84 (Glynde, UK) 79 Mitchell, Louise 69 Sheppard, Andy 14, 19, 22, 45, 52, Joseph, Julian 33, 79 Outside In Festival Rich Mix 73, 88 Lyttelton, Humphrey 8, 16, 29, 52, 61 Mobley, Hank 14, 74 59, 70-1, 89 Jurd, Laura 38, 83 (London) 24, 28 Roberts, Juliet 45 Mackness, Kerstan 56 Moers Festival 89 Shipp, Matthew 54 JVC Capital Radio Page, Lynne 35, 81 Robinson, Orphy 22, 45, 61 Shipton, Alyn 12 Jazz Festival (London) 19, 24, 43 MacMillan, Hector 15 Moholo Moholo, Louis 18, 29, 68, 71 Parker, Charlie 8 Rochford, Sebastian 76 Shorter, Wayne 4, 36, 40, 59, 68, Kamara, Mamadi 22 Majaivana, Lovemore 22 Molde Jazz Festival 6 Parker, Eddie 20 Rodger, Jill 39 81, 83 Karma 58 Mambo Inn 31 Molvaer, Nils Petter 33, 66 Parker, Evan 12, 17, 53-4, 59, 84 Rodriguez, Rico 31 Silcock, Gwylim 76 Keita, Seckou 55 Manchester Jazz Mondesir, Mark 21, 57 Parr, Chris 15 Rollins, Dennis 45 Festival 84 Simon, Paul 22 Kellock, Brian 54 Monk Liberation Front, Parsonage, Catherine 6 Rollins, Sonny 14, 25, 34, 37, 40- Mandela, Nelson 15, 39 The 53 Simone, Nina 35 Kemp, Lindsay 15 Pass, Joe 29 1, 59, 68-9, 73, 89 Mangelsdorff, Albert 40 Monk, Thelonious 53, 84 Sinclair, David 34 Kid Koala 33 Pearce, Amy 38, 47, 53, 60, 78- Ronnie Scott’s 12-14, 20, 31, 56, Mankowitz, Gered 34 Montagu, Lord 9 Singer, Leah 34 Kidd, Carol 52 79, 84 63, 77-78 Maria, Tania 31 Montague, Chris 84 Singh, Pritim 75 Kidjo, Angelique 69 PELbO 58 Rose, Michael ‘Bammi’ 31 Maric, Dave 84 Monte, Marisa 41 Skidmore, Alan 19 Kildare, Dan 7 Pendleton, Harold 10, 16 Roundhouse 18, 59, 80, 87 Mariza 55 Monterey Jazz Festival 8, 48 Skirmishers 35 Kinch, Soweto 55-8, 68 Pepper, Art 14 Royal Academy of Arts 52, 84 13 Montreal Jazz Festival 48, 83 Slater, Ashley 45 Kinetika 53 Peterson, Gilles 30, 32-33, 35, 53, Royal Albert Hall 34, 55, 57, 66, 68, Marsalis, Branford 6, 11, 48 73, 82 Smith, Jim 38 King, Peter 30, 87 55, 58, 70, 79-80 (Buckshot Le Fonque) 22, 36, 43, 59, 75 Moon Hooch 33, 87 Royal Festival Hall Smith, Tommy 58 Kings Place 58, 66, 75 Phillips, Chris 32 Marsalis, Wynton 22, 25, 34, 39, 69 Moore, Hilary 21 (RFH) 8, 11, 22, 30, 33, Smitty’s Big Parade 87-8 Kofi, Tony 53 Phronesis 84 41, 45-46, 52-53, Snarky Puppy 47, 69, 87, 90 Marshall, Oren 71 Moran, Jason 76, 83 Pine, Courtney 40, 47-8, 55-7, 61, KOKO 47, 59, 77 56, 61, 64, 67-69, Martin, Claire 61, 64 Morrison, Bill 34 70, 91 Soft Machine, The 14 Koleoso, Femi 67, 90 80, 84, 90 Marylebone Station 63, 87 Morton, Jelly Roll 35 PizzaExpress Soho Jazz Festival 13, 24, 34, 43 Korner, Alexis 17 Royal Opera House 14, 35 Masekela, Hugh 15, 20, 69 Mozdzer, Leszek 62 Jazz Club 12-13, 52, 56, 58, Solal, Martial 52 K-R Warehouses, Rubie, Steve 77, 83, 87, 89 Massarik, Jack 23, 48 Ms Dynamite 59 67, 77, 85, 87 Sons of Kemet 71 Royal Victoria Docks 33 Ruegg, Mathias 40 Mbeki, Thabo 39 Mseleku, Bheki 33 Polar Bear 67 Soul II Soul 32 Krall, Diana 43 Ruhayah, Supanggah 71 McAlmont, David 35 Mtungwazi, Eska 76 Porter, Gregory 64 South Hill Park Arts Kronos Quartet 69 Rushing, Jimmy 8 McBride, Christian 48 Murray, David 17 Portico Quartet 71 Centre 15-16 Lacey, Genevieve 75 Russell, Dimitrinka McCartney, Paul 64 National Jazz (and Prince 64 Southbank Centre 8, 23, 34, 36, 39, Lady Leshurr 64 Stoyanova 69 53, 56, 63, 69, 71, 77-78, 86-87

103 104 INDEX CONTINUED

Southern Syncopated Vision Festival Wonder, Stevie 64 Orchestra 6 (New York) 89 Wood, Victoria 64 Spalding, Esperanza 69 Vive 63 World Saxophone Spicer, Dan 88-89 Vortex 31, 37, 58-59, 62- Quartet 18, 29 St Germain 33 63, 77-78 Wright, Lizz 64 St James Theatre 35 Vortex Superband 31 Wright, Roger 50 Standard Bank Joy of Vula Viel 56 Wyatt, Robert 71-2 Jazz () 74 Wag Club 32 Wynn, Jonathan 77 Stanko, Tomasz 62 Walker, Terri 64 XOYO 47, 77 Stevens, John 15, 29 Wallen, Byron 30, 57-8, 75 Yarde, Jason 21, 57, 70 Stewart, Rod 9 Wallen, Errollyn 38 Yeoh, Nikki 38 Stöwsand, Thomas 16 Walton, Shana 90 Youssef, Dhafer 83 Stratford Circus 59 Wapping Project, The 59 Studio 51 13 Warren, John 30, 85 Suleiman, Mim 76 Washington, Kamasi 35, 81 Summers, Andy 30, 90 Watts, Trevor 18 Sun Ra 41, 53 Way Out West 83 Supertramp 23 Webb, Alex 35, 40 Surman, John 18, 19, 23, 30, 37, Webb, George 8, 10 40, 52, 59, 68, 71, Webster, Emma 1-2, 59, 85 75, 85 Wein, George 8, 11, 19 Svensson, Esbjorn 67 Wellins, Bobby 54 Swift, Taylor 47 Welsh, Alex 16 Swindells, Steve 35 Wesseltoft, Bugge 48, 58, 81, 83 Talkington, Fiona 66 Westbrook, Kate 35, 37 Tandy, Sarah 38, 83 Westbrook, Mike 12, 15, 17-18, 23, Taylor, Cecil 32, 59 35, 37, 41, 58 Taylor, Martin 29 Wheeler, Kenny 73 Taylor, Sally 60 Whitaker, Claire 39, 45, 48, 50-51, Temple Church 66, 75 58, 60-62, 72-73, Tepfer, Dan 52 75, 78 Texier, Henri 84 Whitehead, Annie 3, 31, 37, 45, 71 Thompson, Barbara 16-17, 35 Whitehead, Tim 20 Thompson, Gail 21 Whyllie, Marjorie 22 Thornton, Eddie Whyton, Tony 59 ‘Tan Tan’ 31 Wigmore Hall 52 Tickell, Kathryn 22 Wilks, Linda 47 Tippett, Keith 15, 84-5 Williams, Gareth 35 Tokyo-chutei-iki 63 Williams, Richard 20, 35 Touré, Ali Farka 22 Williamson, Steve 34 Toussaint, Allen 68 Wilmer, Val 21 Towner, Ralph 16 Wilson, Abram 57, 67 Tracey, Stan 12, 15-16, 18, 29, Wilson, Alex 45 40, 59, 61 Wilson, Cassandra 59, 90 Trible, Dwight 58 Wilson, Lanford 14 Two Banks of Four 58 Winstone, Norma 35, 64, 68, 73, 83 Union Chapel 3, 29-30 Winter Garden Theatre 8 Vasconcelos, Nana 22 Witter-Johnson, Vautier, Ivan 71 Ayanna 76 Vienna Art Orchestra WKD Café 35 (VAO) 40 Women Take Centre Village Underground 47 Stage (London) 37

105 106 107 In Music From Out There, In Here: 25 Years Of The London Jazz Festival, Emma Webster and George McKay have pieced together a fascinating jigsaw puzzle of archival material, interviews, and stories from musicians, festival staff and fans alike. Including many evocative images, the book weaves together the story of the festival with the history of its home city, London, touching on broader social topics such as gender, race, politics, and the search for the meaning of jazz. They also trace the forgotten history of London as a vibrant city of jazz festivals going back as far as the 1940s. As festival founding director John Cumming says: The meticulous work that follows in this history charts the festival journey across decades, and probes the bigger picture that surrounds it. It’s not just about the music, extraordinary and inspiring as that can be. It’s about the way that what might be seen as a niche area of creative work can reflect and respond to external change – and, we hope, make a difference. Not just within a city, but as part of worldwide reach that transcends barriers of race and ethnicity, and, at its best, celebrates a global mix of gender, class and generation… The outcome is I think an immensely valuable piece of work that informs our practice as a producer of live music, and at the same time marks the essential role of academic research in evaluating the impact of the cultural sector in a wider context. Music From Out There, In Here will be of interest to jazz and music fans, to historians and lovers of London, to festival-goers and festival workers, cultural funders and sponsors, to musicians, and to anyone curious as to how a city like London or a music like jazz continually reinvents itself while building a cultural tradition. Emma Webster completed her PhD entitled Promoting Live Music: A Behind-the-Scenes Ethnography in 2011. She has since held AHRC-funded post-doctoral positions at the Universities of East Anglia and Edinburgh. She is co-author with Simon Frith, Martin Cloonan and Matt Brennan of The History of Live Music in Britain, vol. 1 (2013) and a founder and director of research group Live Music Exchange. George McKay is Professor of Media Studies at the University of East Anglia, and Arts & Humanities Research Council Leadership Fellow for the Connected Communities programme (2012-18). Among his books are ed. The Pop Festival: History, Music, Media, Culture (2015), Circular Breathing: The Cultural Politics of Jazz in Britain (2005), joint ed. with Pete Moser, Community Music: A Handbook (2004), and Glastonbury: A Very English Fair (2000). His website is georgemckay.org.

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