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Home , Alan Barnes (musician), Alan Skidmore, Alyn Shipton, Art Themen, Basie Plays Hefti, Bobby Worth (musician)

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ISSUE 123 AUTUMN 2012 2012 AWARDS: UK £2.75 THE NOMINATIONS

Jamie Brownfield by Merlin Daleman CONTENTS

NEW RELEASES FROM UPBEAT JAZZ JAMIE BROWNFIELD PHOTOGRAPHED BY MERLIN DALEMAN AT THIS YEAR'S URDVD251 THE BIG BAND DVD BIRMINGHAM INTERNATIONAL JAZZ AND BLUES FESTIVAL. JAMIE IS Live on the Isle of Wight Fantastic live concert recording of The Big Chris Barber Band. ONE OF THE NOMINATIONS FOR RISING STAR IN THE BRITISH JAZZ 18 tracks running 90 minutes – not to be missed! AWARDS (PAGES 18-19). URCD249 THE SWING ORCHESTRA The Roaring Twenties 4 NEWS 25th Anniversary recording from Graham Dalby and the orchestra (formerly The Grahamophones) 20 terrific tracks. 5 UPCOMING EVENTS

URCD242 SISTER ROSETTA THARPE – The Queen of Hot Gospel 6 WHERE DID IT ALL START? Includes previously unreleased recordings including her own wedding! A great rarity! RON SIMPSON ON EUROPEAN JAZZ BANDS AND November 2012 is the 10th Anniversary of THEIR ORIGINS the passing of Lonnie Donegan and we have five terrific albums of Lonnie’s great music for you to choose from: 9 JAZZ IN THE MOVIES JAZZ ON FILM URCD214 Jubilee Concert 1981 1st Half ANDREW PATRICK ON JAZZ FILMS URCD212 The Last Tour – 2002 his last recording URCD218 Jubilee Concert 1981 2nd Half URCD200 This Yere De Story – BBC broadcast - his life in words & music1994 11 SOUTHPORT MELODIC JAZZ/JAZZ: Complete track listings and personnel online. All CDs available from good record shops – distributed by RSK – BODY AND SOUL or online together with the full Upbeat Jazz catalogue at www.upbeatmailorder.co.uk 12 AMERICANS Upbeat Mail Order also stocks many third party labels SUBSCRIBE TO THE JAZZ RAG IN LONDON including Lake, 504, PEK, Jasmine, Proper, JSP, Frog and Raymer Sound and many more…. THE NEXT SIX EDITIONS MAILED 14 TEN DAYS IN LONDON THE LONDON JAZZ FESTIVAL For a Free Catalogue call 0844 669 6295 DIRECT TO YOUR DOOR FOR ONLY £15.50* 16 WHAT IS THIS THING CALLED BOP? Simply send us your name. address and postcode along with your THE SECOND PART OF ’S STUDY OF payment and we’ll commence the service from the next issue. LATE 1940S BIG BANDS OTHER SUBSCRIPTION RATES: EU £18.50 USA, CANADA, AUSTRALIA £22.50 20 REVIEW SECTION Cheques / Postal orders payable to BIG BEAR MUSIC Please send to: 32 BEGINNING TO CD LIGHT JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 34 COMPETITIONS / NEWS OF THE NEWS THE 2012 BRITISH JAZZ AWARDS * to any UK address

PRESENTATION AND PERFORMANCE THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 Monday 22nd October Fax: 0121 454 9996 IT’S VOTING TIME AGAIN! Email: [email protected] 2012 is the 26th year of the British Jazz Awards, the ‘Jazz Oscars’, and October 12th is Doors open 7pm Web: www.jazzrag.com the closing date for voting. Highly valued by jazz musicians for many reasons – not least the long list of illustrious names on the roster of a quarter-century of awards –, the Awards Presentation from 8:30pm. Publisher / editor: Jim Simpson awards pay tribute to the many wonderful players, singers and bands whom we tend to News / features: Ron Simpson take for granted. Tickets £20. Inclusive dinner and admission, £44. Reviews editor: Russell Fletcher International editor: Yue Yang This issue's cover photograph features one of the musicians chosen by the CONCORDE CLUB Commercial Director: Tim Jennings Nomination Panel, but, as the article on pages 18-19 emphasises, there are many Subscriptions & accounts: Russell Fletcher excellent musicians not on the list of nominations and the voting system allows, even Stoneham Lane, Eastleigh, SO50 9HP Designed by Nerys James encourages, votes from outside the panel’s choices. Printed by Warwick Printing www.warwickprinting.co.uk The British Jazz Awards will be celebrated in a presentation at Eastleigh’s Concorde Tickets available online www.theconcordeclub.com Club on October 22nd, always a first-class event with superb jazz from a group of the © 2012 THE JAZZ RAG. All original material including advertising winners. The voting system is by no means confined to Jazz Rag , but our readers always Or telephone 02380 613989 artwork remains the sole copyright of the Publisher and may not be play an important part in the process. So the Jazz Awards once again rely on your reproduced without permission votes, whether by mail or on line!

2 THE JAZZ RAG THE JAZZ RAG 3 NEWS NEWS / UPCOMING EVENTS

the Space, Nottingham JJJ ACADEMY Continued with Alec and Emily and the local Felpham in Focus a quintet including Don Byron Contemporary, is the venue for The new Jazz Dankworth. On Sunday co-host wrote in glowing terms about the and plays Leeds on November Christine Tobin (October 18) and Academy, presented by HMDT interviews performance by the Julian Marc 14. Another excellent jazz event Jan Kopinski: Mirrors (25). An Music and due to open in January Ken Barnes in Stringle Quartet, full of such is the Tommy Evans Orchestra enterprising monthly series of 2013, offers young people a great Remembered and the words as ‘fantastic’, ‘superb’ and with his suite The Green Seagull Live at the Libraries features opportunity to work with top other co-host joins ‘exceptional’ – it’s great to see (November 10). concerts in Mansfield Library jazz musicians to develop their Bruce Adams for Basie’s Back . jazz finding such favour in a leafy Tel.: 0844 848 2700 (Sunday lunch-time), then creative talents and performance And, of course, there’s Jazz in the English village! The pre-Christmas www.operanorth.co.uk Southwell and Worksop Libraries skills. The academy will operate at Festival Bar on Saturday and programme will do that Autumn gigs for King Pleasure (Monday and Tuesday evenings). weekends and is aimed at Sunday. reputation no harm. Mike Piggott and the Biscuit Boys include The Corey Mwamba Trio experienced instrumentalists and Tel.: 01702 339565 and Steve Green (violin and (October 14-16), the Nicola vocalists aged 12 to 19 who have www.visitsouthend.co.uk guitar in Hot Club style) appear Loughborough Town Hall Farnon Trio (November 11-13) a good ear and knowledge of on October 3, followed by One (October 4), the Platform, and the Nottingham Youth Jazz scales and a real interest in jazz DORKING JAZZ Foot in the Grave (Paul Eshelby, Morecambe (5), Marsden Jazz Orchestra (December 9-11) are Watermill Jazz in Dorking Phil Phillips, and Festival (12), Royal Spa Centre, Jan and in improvisation. Three Taster the next to appear. Finally the Days have been arranged to presents its annual concert at the ) on November 7 Leamington Spa (18), Swindon Jack DeJohnette Kopinski Grand Final of the Nottingham enable those interested to work Menuhin Hall on Saturday and a real coup in December. Arts Centre (20), Charcot, International Jazz and his Jazzmen are France (November 9), Otley Festival at the Trouville Hotel in Headliners at Marsden Jazz BIG DAY AT HALF with Julian Joseph and enjoy a October 6. Claire Martin and Sir Competition takes place in the performance by his quartet. Richard Rodney Bennett team up appearing in two Xmas Specials Courthouse (10), ’s, Sandown on the Isle of Wight Festival (October 12-14) include MOON Nottingham Albert Hall on Following the opener at the for another of their composer (14 and 21), a remarkable double London (December 8) and the (February 22-25) and Jazz King Pleasure and the Biscuit October 7 will be a splendid day October 7. Barbican on September 30, tributes: Out of this World , the event for a village hall club (and Mill Arts Centre (16). Weekend at the Wessex Hotel, Boys, Gilad Atzmon and the Tel.: 0121 454 7020 for Dick Laurie, the Elastic Band www.jazzsteps.co.uk further Taster Days follow at the songs of Harold Arlen. The very reasonably priced). The New Bournemouth (March 8-11). Still Orient House Ensemble, www.kingpleasureandthebiscuitboys.com and the Half Moon in Putney. The WAC Performing Arts and Media regular programme at the Friends Year starts well, too, with Two for to come in 2012 are a different Tommaso Starace Quartet and band is celebrating its 29th CONCORDE JAZZ College (October 20 – 2-6 pm) Life Social Club every Thursday is the Price of One, saxophonists Jo Isle of Wight venue, the Shanklin Dennis Rollins’ Velocity Trio. The Cherry Tree in Belchamp St Tel.: 0845 5194415 birthday and the 20th anniversary and the World Heartbeat full of new and original groups Fooks and Vasilis Xenopoulos Hotel (October 19-22), the Eastleigh’s Concorde Club, which Paul, Suffolk, stages jazz every www.marsdenjazzfestival.com of its tenure at the Half Moon Academy (November 11 – 10 and projects. BLINQ (4) is a vocal with the Roy Hilton Trio on Metropole Hotel, Llandrindod is hosting October’s British Jazz two weeks with the Roger Odell and a special guest appearance by am-4 pm). super-group with , January 2. Wells (November 2-4) and the Awards presentation, has its usual Trio and singer Larraine Odell, The William Shakespeare John Barnes – one of his first Tel.: 020 8820 7410 Ian Shaw, MOBO nominee Tel.: 01243 584932 Mercure Castle Hotel, Windsor excellent jazz programme in plus top-class guests: Cameron Jazz’n’Swing Festival at the major excursions since his severe www.hmdt.org.uk Natalie Williams and Los Angeles- www.jazzatthevillage.org.uk (November 9-12). addition. The Concorde offers all Pierre (October 14), www.jazzbreaks.com Stratford Holiday Inn (November stroke – should add mightily to born Brendan Reilly, accompanied kinds of show, from rock tributes (28), Alan Barnes (November 11) For further information on 2013 24-26) has John Petters’ usual the festivities. by . The Nikki CELEBRATION OF to an evening with Gazza, but jazz JAZZ AT THE PALACE and Julian Siegel (25). events email packed programme. The 29 Iles Trio (11) features new occupies Sunday (New Orleans Jazz at the Palace is Southend’s JOAN MORRELL Tel.: 01787 237653 [email protected]/ musicians taking part include Alan However, all has not been well on Jazz for Dancing) and Wednesday 2nd International Jazz Festival saxophone voice Josh Arcoleo on Cambridge Modern Jazz Club is www.jazz-nights.com www.forestdalehotels.com/wessex Gresty, Mike Cotton, Allen the Elastic Band/Half Moon front. nights. The Wednesday staged at the Park Inn Palace on tenor and the Matt Wates Sextet staging a major event to Beechey, Ian Bateman, Trevor As Jazz Rag goes to press, all programme includes Buddy October 19 to 21. Patron Sir (18) is followed by the Soweto celebrate the life and work of Graham Brook’s Monday Night Jazz on a Sunday at Mayfield Whiting, John Crocker, Keith Sunday jazz at the Half Moon has Greco and Lezlie Anders takes an active Kinch Trio with his latest project, Joan Morrell on October 14. Jazz and Swing at the Wilmslow Sports Centre, Castleton, Nichols, Jim Douglas, Dave been cancelled for September by (October 3), the Swing part in the proceedings, hosting a double album called The Legend Joan, who died in November Conservative Club specialises in Rochdale, every fortnight on Moorwood, Annie Hawkins and order of the new manager. This is Commanders (10), Digby the first night concert with the of Mike Smith , based on the Seven 2011, established CMJC in 1972 two guest musicians accompanied Sunday evenings, continues with Colin Bowden. The Jazz Lecture not necessarily a permanent Fairweather’s Half Dozen (17), London Jazz Sinfonia arranged Deadly Sins. and made it a major venue for by one of several excellent Papa Pider’s Jazz Band from by John Petters is on Early Black thing, but it seems an odd and Tenor Madness , a tribute to Spike and conducted by John Jansson Tel.: 07415 815784 new, experimental, even obscure resident trios: pairings include Sweden (October 14), the New Orleans Jazz and there are rather alarming action. Anyone Robinson headed by with guest Jacqui Dankworth and www.watermilljazz.co.uk acts many of whom went on to Enrico Tomasso and Rosie Millennium Eagle Jazz Band (28), tributes to , Kid wishing to support the Elastic and Alan Barnes (24), Sammy then taking part in An Afternoon international renown. For this Harrison (October 15), Greg Dave Mott’s Jazz Classics Ory, , Louis Band in securing its position at Rimington’s International Band with our Patron on Saturday where JAZZ AT THE VILLAGE tribute to her work Cambridge Abate and Bruce Adams (November 11), the Cheshire Armstrong and many others. the Half Moon could write to the with Cuff Billett (31), Peter Cater he is joined by Digby Fairweather Top drummer Bobby Worth Modern Jazz is taking over the (November 12), Amy Roberts Cats (25), Chris Pearce’s Tel.: 01406 365731 Manager, The Half Moon, 93 Big Band in a tribute to Buddy and Laurie Holloway. Also on reports great progress with Jazz whole of Hidden Rooms in Jesus and Mike Hall (December 10) Frenchman Street Jazz Band www.traditional-jazz.com Lower Richmond Road, Putney, Rich (November 7) and Peter Saturday are selections from the at the Village, monthly jazz at Lane for a three-part and – just a duo, this one – Alan (December 2) and New Orleans SW15 1EU or email White and his Band (14). Jazz on the Pier concert with Felpham Village Hall. Sell-outs are performance from 5.00 pm to Barnes and Dave Newton (17). Heat (16) before an extra Val Wiseman’s acclaimed Billie [email protected]. Tel. 023 8061 3989 Tina May and Digby Fairweather so common that the club can late. The John Turville Trio kicks Another highlight is the Christmas show with the Jazz Holiday show, Lady Sings the Blues , Tel.: 020 8780 1939 (Dick Laurie) www.theconcordeclub.com and the Dankworth Dynasty advertise ‘Pre-booking essential’ things off, followed at 6.45 by appearance of Lee Gibson on Gentlemen (December 23). plays the Landmark Arts Centre, Gareth Williams and October 29 and visiting bands Tel.: 0161 740 3714 Teddington, on November 10. Kenny Ball with Salute to Bill Evans , and then include the Les Bolger Jazz Tel.: 0121 454 7020 The Stafford Jazz Society meets LARGE STEPS FOR from 8.30 ‘The Quintet’, an all- Guitar Ensemble, a six-piece at Stafford Rangers FC every The 26th Teignmouth Jazz and star line-up of , Jim including four guitars, on JAZZ Sunday lunch-time, featuring such Blues Festival (November 16-18) Mullen, John Donaldson, Mick October 8, and the Jazz Steps, organisers and co- bands as the Old Fashioned Love is staging over 25 main Hutton and Nic France. Brownfield/Byrne Hot Six ordinators of jazz events in and Band with SJS President Mel Hill performances, plus lectures, Tel.: 01223 514777 (November 19). near Nottingham, offer an on (October 14), the workshops and an ever increasing enlarged programme this www.cambridgejazz.org Tel.: 01625 528336 www.myspace.com/grahambrookjazz newly-formed Phoenix Jazzmen fringe. The festival ranges from Autumn. The regular Thursday UPCOMING with the likes of Pete Ainge and traditional to cutting edge jazz concerts at the Bonington Tipitina appear at the White Terry McGrath (28) and Ian and takes a new direction this Theatre in Arnold continue: the EVENTS Swan, Harborne, on October 25 Royle’s Coffin Dodgers Jazz Band year by heading the bill with jazz Gary Boyle Quartet (October 4), in the second last-Thursday-in- whose name hints at their fusion in the form of Eduardo the Jay Phelps Quartet (11), the The Howard Assembly Room at the-month session, to be element of comedy (November Niebla. International artists Basil Hodge Quartet (November the Grand Theatre, Leeds, though followed by 52 Skidoo on 18). Special extended concerts include Greg Abate, playing two 1), Partikel (15) and Neil Yates’ run by Opera North, embraces a November 29. are the SJS Anniversary Concert gigs, one of them with Alan Five Countries Trio (22). The very wide musical culture, from Tel.: 0121 454 2359 (White Swan) (Jeff Milner’s Delta Friends – Barnes, and the festival also occasional concerts at the flamenco to Congolese funk, with 0121 454 7020 (Tipitina) October 21) and the Christmas features Partikel, Swingology, Djanogly Theatre at the Lakeside one outstanding jazz Concert (Fire Hose 1 Mike Outram, Craig Milverton, Arts Centre include Marilyn performance lined up for Autumn Early 2013 weekend jazz breaks Jazz Band – December 16). Zoe Schwartz and many others. Crispell/Eddie Prevost/Harrison 2012: Jack De Johnette celebrates organised by Tony and Denise Tel.: 01785 226950 www.teignmouthjazz.org Smith (November 6). In addition his 70th birthday by touring with Lawrence include a Weekend Jazz www.staffordjazz.org 4 THE JAZZ RAG THE JAZZ RAG 5 WHERE DID IT ALL START? WHERE DID IT ALL START?

revivalist period and goes back to town, with the Old Time Jazz schoolteacher as organiser and attitude by the government in Budapest Ragtime Band WHERE DID IT grand old classic jazz or Band (‘they were our teachers’) no jazz concerts in the area. Iva Soviet-influenced days: Dixieland favourites. More often, being founded in 1957 and still cites Louis Armstrong LPs as an ‘In the Communist era it was not too, the early giants of jazz are playing, though obviously not influence and after that British so easy to hear jazz music. In the ALL START? venerated: the name Louis with the same people. Iva traditional bands Chris Barber, 1990s it was much easier to Armstrong occurs in describes them as ‘amateurs, just Kenny Ball and Rod Mason. travel abroad and hear jazz. But RON SIMPSON looks at the origins of traditional jazz bands in conversation time and again and like we are’, meaning semi- Having relied on her father’s LP among the Middle European some of the more obscure (and, alternatively, most glamorous) Joe Muranyi, a decent clarinettist professionals with other jobs, collection, Iva delighted in the Communist countries Hungary parts of Europe. born in the States of Hungarian though in the case of her band arrival of Youtube. The respect for had the first music academy for parents, was treated by the many are still students. However, the past shows in another jazz. I studied there myself. Many Miskolc Dixieland Band as an there was a further influence on element of the band’s repertoire. university students played jazz t many festivals in the UK their village or small town – yes, I icon because he spent time in the Teens Jazzband which derives some of the most know the recent Devonian Their current CD is of the songs even before the change from Armstrong’s All Stars. (The from an even more youthful of Annette Hanshaw with Petra Communism.’ Ainteresting, imaginative phenomenon, the Fantabulous Miskolc Band, veterans of many band: and robust traditional jazz comes Sheepwash Playboys, doesn’t fit Ernyei as guest vocalist: Birmingham festivals, generally fit The founders of the Budapest from bands from mainland historically or geographically! But pretty well into my tenuous ‘When I and my brother, the Europe. Various immediately regional pride seems more of a ‘We hold traditional tributes to Ragtime Band were half jazz hypothesis. Miskolc is not small trumpet player, moved to Velke jazz players, we try to find students and half classical which disprovable observations come constant in Central Europe. and boasts an opera festival as Losiny, I was 14 and my brother to mind based on interviews at traditional players and musicians has helped the exhilarating mix of well as a jazz festival, but at less was 9 years old, and there was a who have an anniversary.’ (I styles the band employs: from this year’s Birmingham Bands also seem more likely to than 170,000 inhabitants and in teacher in our school who liked International Jazz and Blues have their origins in an surmised it was Annette ragtime to zany selections from the far North East of Hungary jazz and he founded his own band Hanshaw’s centenary, but Iva the opera to jump and jive Louis Festival and memories of educational establishment and, as it’s not a major metropolis – and – and that was the beginning of European bands appearing in a corollary to this, are sometimes informs me they were celebrating Jordan-style to whistles and bells note the band’s local pride and our playing. We founded the Birmingham and elsewhere in astonishingly young compared to her 110th anniversary, her and standing on your head. identification with Dixieland.) Teens Jazzband a few years after years past. the common run of UK bands. accepted birthdate having been Ferenc, however, is in no doubt this. We still call ourselves Teens moved from 1910 to 1901. that ragtime is the core of their Above all I wanted to find out Jazzband and we wait for our The golden age of territory Most traditional jazz bands will Somehow those pert little ‘That’s music and that comedy is how jazz got to the young people 10th anniversary to give us a new bands in the UK was long ago be in some way derivative which alls’ at the end of songs fitted comedy, but music is paramount: who originally formed these name. People know us as Teens and the bands’ names alluded to can be as positive as it is better with a teenager!) bands: what experience of jazz do Jazzband and, if we change the their cities of origin, the Saints negative: there’s plenty of good ‘It’s too much to play ragtime for you have in a small village on the name, maybe it will be a from Manchester being the most jazz derived and adapted from So does the existence of two 2 hours - too much caviar! We eastern edge of a Central problem.’ notable exception among the excellent models. Do the bands in a town of less than play traditional jazz and Spike European country when perhaps Merseysippi, Avon Cities, continental bands draw their 3,000 people mean that Jones . We have you have a government that To begin with the Teens Jazzband Yorkshire, Clyde Valley, Second inspiration from a different well? traditional jazz is very popular in been to Upton-on-Severn Festival Photo by Merlin Daleman regards jazz as a product of the consisted of eight people City and the rest. Few boasted of More often the material skips the Moravia? Apparently not! four times and there was a band decadent West? (including double bass and ). there that played Spike Jones Three of the originals are still in Jazzband Velke Losiny ‘Traditional jazz is not so popular style – Bob Kerr and the Les Zauto Stompers The Teens Jazzband Velke Losiny the band which is now a sextet in the Czech Republic. Modern Whoopee Band. The music from the Czech Republic never with piano, banjo/guitar and jazz is much more popular, just as comes first – the quality of the had the problem of government drums as the rhythm section. The in Poland. We play all over the music is the most important discouragement directly, but problems of having a drummer in Czech Republic, often 200 or 300 thing, more important than the there are many remarkable the construction industry kilometres from our home town, comedy and the jokes.’ features of their story. By now emerged a week before the band because most of the festivals are regulars at Birmingham, the band played Birmingham when he in the West of the Czech is energetic, skilled and injured his hand, but the Republic and we are in the East. Ferenc was not one of the disciplined, with no musician temporary return to the Hot Last year we were in France at an founder members: he joined the above 25 and no tune below 70! Five rhythm section only boosted international youth music festival band 25 years ago and became The commitment and drive of the ferocious drive of piano and in Belfort. We also played in leader four years later. Of the their playing endears them to the banjo. At the outset we are Germany last year.’ founder members only one Birmingham crowds and, despite talking extreme youth, with a remains, but according to Ferenc a somewhat awed initial reaction trumpeter of 11 years old leading So Teens Jazzband has a foothold only the members change, not to the fine concert hall at the front-line of the Teens on the international festival the style. Of course changes in Birmingham University’s Barber Jazzband. Maybe starting at such a scene, but not so much as the personnel make some small Institute, they became as much at formative age has something to Budapest Ragtime Orchestra, changes, but the core remains the home there as on the pub circuit. do with the discipline and founded much earlier (1980) and same. Ferenc believes it is The Teens Jazzband also has a freedom from ego in such bands with an impressive record of important to play in your own unique selling point: Iva as Teens – or indeed Spicy seven visits to the United States, style and no one can doubt that Chomiszakova, extraordinary Advice, another youthful band including three Sacramento Jazz the Budapest Ragtime Band does pianist with a left hand like a from Vasteras in Sweden which Jamborees, and regular that. power drill, bandleader, singer of has graced several Birmingham appearances at plenty of top UK classic 1930s songs and Ph. D Festivals. festivals (Upton, Swanage, The one remaining original student in Czech Literature. It’s obviously Birmingham). member is original in more ways Iva who tells me how the band At a Teens Jazzband concert the than one. Jozsef Szeki is a started nearly 10 years ago. numbers are meticulously – and Bassist and leader Ferenc Gayer classically trained percussionist, very briefly – announced and the simplifies the reasons for the specialising in xylophone; he also How many jazz bands would you composers’ names tend to be the band’s formation: students at the sings in a rough blues and comic expect to be based in a small likes of Louis Armstrong, Jelly Budapest Academy saw the film idiom, stands on his head, town of 2832 inhabitants 188 Roll Morton and Sidney Bechet. The Sting , with Scott Joplin’s rags demands audience participation kilometres from the capital, This chimes with Iva’s story of orchestrated by the late Marvin and, according to Ferenc, ‘has a Prague? The answer, remarkably, the band’s early years, with the Hamlisch, and were inspired to very intellectual humour’. is two. Iva points to a long- Old Time Jazz Band as start a ragtime band. Ferenc Photo by Merlin Daleman standing tradition of jazz in the inspiration, a remarkable explains a rather ambiguous But what was the jazz situation 6 THE JAZZ RAG THE JAZZ RAG 7 WHERE DID IT ALL START? JAZZ IN THE MOVIES

concert is successful, it’s not just Budapest Ragtime Band because of the musicians, but JAZZ ON FILM because of the audience. For us it JAZZ IN THE MOVIES is not just a concert, it’s a show. By ANDREW PATRICK , media consultant and former Chief Executive, British Film Commission When we are on stage, it’s like a love affair, we have to seduce the hen you think of the decent living from it, the collision Indeed, in some instances it can great because of jazz. audience. And it must give all time list of jazz of those two art forms which become the one element that Would have really pleasure to both.’ Wgreats - and that list is have so much in common with makes seeing a pretty ordinary won his only acting Oscar for The both long and illustrious - then it one another has always film that bit more extra ordinary. Man With The Golden Arm if the Les Zauto Stompers have toured would be a reasonably safe bet to interested and moved me. I am sure there are a few magnificent Elmer Bernstein all over Western Europe, two assume that one of the all time They are both relatively recent examples of 'ordinary jazz' in score hadn't ensured the film members of the band played kings of jazz, Louis Armstrong, additions to the cultural world 'ordinary movies' and of 'ordinary captured the mood of the time would feature somewhere near and grew up alongside each other jazz' in 'extra ordinary movies'. so evocatively? Would Anatomy Of New Orleans a few years ago, but the top. in the early years of the However, they can be A Murder have been remotely as the band had to turn down a twentieth century. Surely it is remembered only for their rarity cool without its note-perfect recent invitation to return So it should be for me, but in my more serendipity than and are therefore generally not Duke Ellington score? Can we because Gilles had work case that statement comes with a coincidence that the very first remembered at all. really imagine the classic commitments. This is no problem confession. The Louie I grew up talking picture was The Jazz Newman & Redford vehicle The for most of the band, with three worshipping (and the clue is in Singer made in 1927. Film has But if you flip that particular Sting without the ragtime of Scott retirees and a banjo player who’s the spelling) was not the late and never been afraid to push the artistic coin and consider the Joplin so beautifully played by the Photo by Merlin Daleman a full-time musician who used to great Satchmo but the true 'king margins of public entertainment hugely positive and often great and sadly recently lamented play guitar with Charles of the swingers', the legendary and often existed - or gave the memorable impact that great jazz Marvin Hamlisch? Would quite so like in the 1980s when the players with great experience in is not to make a concert, but to Aznavour. The band projects King Louie as voiced by Louis impression of existing - in the and its influences have made to many people have accepted Beau Budapest Ragtime Band came on other bands. The band was have a good relationship with the optimism, though Jean-Michel Prima and immortalised in one ever so slightly murky margins of the film experience then the and Jeff Bridges as The Fabulous the scene? Ferenc mentions one formed in 2004 from musicians audience. We play the repertoire, sees a problem for music of this memorable song from the Disney respectable society. I suggest the examples that spring to mind are Baker Boys without the excellence fairly successful Dixieland band, who already knew each other of course, but we are happy to animated film The Jungle Book in same can be said of jazz and it is both plentiful and often iconic. of 's score? And but interestingly enough the only well. Jean-Michel knew and respond to the audience: they type in France, a problem we in the UK share: 1967. I do have an excuse in that often that air of being a touch Iconic not just from the point of would Clint Eastwood have been names he ventures are two more worked with trumpeter Gilles come to see us, sometimes they I was about ten years old when rebellious, subversive even, that view of the great film composers quite such a critically acclaimed modern-styled guitarists, Gabor Naudet, for instance, for 30 years, pay to see us, and the first thing that wonderful character first gives both film and jazz their for the silver screen that have director without the jazz ‘The problem with old-style or Szabo and Attila Zoller, who built often playing together in the is we must give them pleasure.’ indelibly seared its way into my unique and hugely attractive their roots planted deep in jazz influences that have suffused so Dixieland in France is that we much of their reputation working same bands. The long-standing psyche, but the inescapable fact is allure. (John Barry, John Williams, Lalo many of his films right from his have more young people on stage abroad in the United States. friendships are one of the Of course the remark about lack that whenever I think of King Schifrin and Dave Grusin to name debut feature Play Misty For Me in features of the band: all live near of influences needs qualifying. than in the audience. We have a Louie it is that simian 'jungle VIP' Film grew up in the fair grounds but a few) but also because of 1971? Is it purely an impression I have each other 30 kilometres from When Les Zauto Stompers were new generation of musicians – that springs to mind and that and carnivals of over a century the range and quality of the films formed or are bands from , in the countryside, but with formed, they may well have when they are 18 or 20, they’ve crazy infectious song that drowns ago whereas jazz at that time was their work has graced. There may These films comprise a far more mainland Europe more likely to easy access to the capital for gigs simply followed their own path, already been practising for 12 out all other pretenders to the associated with the shadowy be few great movies about jazz substantial audio visual feast and put on a show without at such clubs as Le Petit Journal. but the prime influences on the years, wonderful musicians. There crown. world of the gambling joint or but many movies have been made whenever you come across one compromising the music? The musicians were many years are many new musicians who speakeasy, so is it any wonder Budapest Ragtime Band certainly Originally Les Zauto Stompers before when they started playing love this style, but the audience – However, for me that is the that such beginnings have do, as do Les Zauto Stompers – consisted of trumpet/, jazz. The rest of the comment is the young people will not come.’ whole point and the main thrust resulted in an affinity between or, to give them their full name, /saxes, sousaphone and one that could be equally applied of this very personal article these two great art forms that, at Les Zauto Stompers Jass Band, banjo. After a few years the band to the Budapest Ragtime Band Les Zauto do their best to about the seismic and often its best, can be quite magical? with ‘de Paris’ added when added a drummer and about four and several other Continental involve the younger generation in under-appreciated contribution they’re playing abroad. In fact years ago Jens Kromer took over bands that regard themselves as listening to, and playing, Dixieland that jazz has made to the movie And yet it is hard to avoid the they don’t come from Paris and from Bruno Minisini on reeds, entertainers, while respecting the by visiting conservatoires to play industry. Jazz is not a science; it conclusion that this is not a no one could fail to notice their though Bruno still sometimes music – soon Jean-Michel is cannot and should not be marriage of equals and that film for the students. Similarly French origins. The tricolour in plays with the band, usually on talking about showing respect to dispassionately analysed or has been rather better served by youngsters exposed to this music the sousaphone is a giveaway, but baritone sax with Jens playing Louis Armstrong when playing his dissected to understand its core. jazz than jazz has by film. By this I their music equally betrays the clarinet. The absence of music. (My favourite at a boeuf in a festival may find it Indeed those that might take this am not referring to films about Gallic origins. is deliberate, though announcement of the festival a revelation, but it is not easy to approach have already missed the jazz or its practitioners. Indeed one is often added for outdoor came when Les Zauto were persuade them to come on a point and I feel sad for them. Jazz, film has also not been especially ‘What is French-style jazz?’, performance. The unusual line-up playing a pub called the Sacks of regular basis, explains Jean- for me, is a central foundation of successful in turning out films leader/sousaphonist/singer Jean- is further emphasised by Gilles Potatoes: ‘In 1927 Louis Michel. What, I politely enquire, is what comprises my quality of life, about film with a few honourable Michel François asks me, rather Naudet’s use of the pocket Armstrong wrote Potato Head a boeuf ? A Jam Session, what else, along with film whose exceptions - The Player and Singin’ unfairly, since the band’s website trumpet which he describes as Blues . Tonight, as a tribute to this named after the celebrated Paris relationship with jazz is the In The Rain being to my mind chief refers several times to the his ‘trademark’. (‘I wish I could place, we will play it for the first restaurant, Le Boeuf sur le Toit, central theme of these random among them. Perhaps this is ‘French Touch’. I could have have a pocket sousaphone’, time.’) The style is difficult to pin famed for such sessions! To musings and football which is down to the fact that the stories mentioned the fact that his vocal comments Jean-Michel – but down: though Jean-Michel uses complete my French lesson, I most definitely not! behind the images and the music style hints towards Maurice there would be no room for the ‘Dixieland’ freely, he prefers ‘old enquire as to the meaning of the are all too often less intrinsically Chevalier at times or the elaborate decorations!) This style’, but regularly he returns to band’s name: I make no claim to be a jazz gripping than the art form that charming (or comic) French lyrics article began by wondering how the importance of the audience, expert and have no musical talent inspired them. to such standards as Lazy River musicians in more remote parts not the precise style of the whatsoever, but growing up as I ‘For the French it is a joke. and Sweet Georgia Brown , but of Europe found their way to music: did in a musical family - my Dad is As I have previously stated, I am “Autostoppers” are hitch-hikers. above all I think French-style jazz jazz. In Paris there is no shortage the musician John Patrick and my no expert and I am sure most of is the sort of jazz that needs of influences, surely! I prepare ‘I do not do it in England because Les Autostoppers turn into Les step-mum the singer Brenda you reading this far would agree. French words to describe it: élan, myself for a long list, but Jean- my English is not good enough, Zauto Stompers! We could have Scott - it would have been BUT - and this is the point - you éclat, insouciance, plus the odd Michel surprises me: but in French I will explain to the had New Orleans Hot Shots or surprising if I had not been don't have to be to enjoy and Italian borrowing such as brio. audience that, when we rehearse, something like that, but now we touched by music in some lasting often luxuriate in the sound of ‘I think we are not influenced by we have the same swing, but it is can have the slogan – “Les Zauto way. I have been, and given my jazz as it subtly enhances your Les Zauto Stompers is a fairly anyone. We play the music as we not the same as when we are in Stompers – the jazz band that passion for film and my good enjoyment of a film and your new band, but one formed from feel it. The most important thing concert with an audience. If a goes where you want to go!”’ fortune at being able to earn a appreciation of its ambience. 8 THE JAZZ RAG THE JAZZ RAG 9 JAZZ IN THE MOVIES SOUTHPORT MELODIC JAZZ

just eat it up with a spoon, close the process) but it was an your eyes, listen and enjoy. observation made by Peter SOUTHPORT MELODIC JAZZ Because what better way is there Sellers within his album notes to spend your time and, as the that I didn't really understand at he highlight of the year at Jim Rotondi other King Louis once poignantly age nine that has stayed with me Southport Melodic Jazz is crooned in the James Bond ever since. He said - and I am TJazz on a Winter’s movie On Her Majesty's Secret paraphrasing - it was marvellous Weekend at the Royal Clifton Service - 'we have all the time in that the invention of the LP Hotel – next year, February 1-3 – the world'. enabled people to listen to the but the year-round programme, music of a film without having to also at the Royal Clifton, has By way of final illustration of just watch it, but he was disappointed many attractions. On October 21 how important a role jazz in that there was no method yet a change of programme, with particular and music in general devised that enabled people to Robert Castelli having to cancel, has played in film I will end as I watch a film without having to means that Nicolas Meier is able began, with a vivid memory from listen to the music. to introduce Southport my childhood. Long before I ever audiences to Gabrielle saw the Peter Sellers movie The He was, of course, being Ducomble, an exciting new Pink Panther I was infatuated with humorous but the thought that singer, Belgian by birth, a finalist in its hypnotic theme tune featuring occurred to me then and the French Pop Idol , now based in a haunting tenor sax solo from resonates with me to this day is - London where she took a Post- Plas Johnson and composed by who needs it? Music without film, graduate course in Jazz Singing at Trio. trumpeter Laura Jurd and singer Henry Mancini (whose great no problem; but film without the Guildhall. Another in the As for the Winter’s Weekend, as Zara McFarlane, either side of score from The Days of Wine & music? That would be like Ginger current series of outstanding SMJ is also involved in a very usual the 11 concerts are backed the Steve Waterman Big Band. Roses is another of my particular without Fred or Hammerstein Italian pianists, Enrico Pieranunzi English venture: Jazz at Dobbies up by a fringe programme Also on the bill are the Dado favourites). My Dad, probably without Rodgers. appears on November 18. SMJ Tearoom. On the last Thursday of spreading through the public weary of my constant badgering Moroni Trio with Mark has a taste for festivals, including every month high tea at 5.00 pm rooms of the Royal Clifton. of him, finally managed to get I love music, I love jazz music Nightingale, the Trudy Kerr the ‘mini’ variety and December is accompanied by jazz: the American visitors this year are hold of an LP of the original more and I love jazz music in film Quartet, the RNCM Big Band 9 is the occasion for a four-part Brownfield/Byrne Trio (October the Jim Rotondi Band and New soundtrack and Sellers himself the most. To echo the Bard of and, as a festival finale, Alan Xmas Special from 2.00 pm to 25), Swingology: Quintet du Hot York saxophonist Walter Smith had written the notes on the Avon - who would have Barnes and Anita Wardell with very late: the Paul Riley Band, Club de Dobbies (November 29) III’s Quartet. Keeping up the album cover. undoubtedly have listened to jazz the music of Johnny Mandel, Zoe Chiotis and Anthony and, a special pre-Christmas international flavour is and written great screenplays if followed by the Iain Dixon/Mike Ormesher, Alan Barnes and Craig event, the Phil Shotton Trio with Norwegian tenor saxist Marius I played the album over and over either medium had been around Walker Quintet. Milverton in an Sleigh Bells Ring – are you listenin’ Neset. The first day’s programme again (with the added bonus of in his day - 'if music be the food Tel.: 01704 541790 tribute, and the Andrzej Baranek (December 13). includes Southport debutantes, www.jazzinsouthport.co.uk driving my whole family mad in of love, play on'.

Louis Armstrong

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10 THE JAZZ RAG THE JAZZ RAG 11 DANNY POLO DANNY POLO AMERICANS Then September 3, 1938, saw the European small groups he London bandleader. Jack Harris Polo made the front page of the IN LONDON end of the Polo-Ambrose soap worked with. In 1935 he had was born in the States, but from MM for the last time: ‘DANNY DANNY POLO opera. While Ambrose was recorded with Arthur Young and the late 1920s he had lived and POLO DIES SUDDENLY IN preparing to start a variety tour his Youngsters (Max Goldberg, worked in London. Now, in the n Lake’s recent mammoth box AT AGE OF 47’. The Embassy Rhythm Eight (1935): (l-r) Dick Ball, Max Bacon, Danny Polo, Joe Brannelly, Lew Davis, at Birmingham Hippodrome, Billy Amstell, Freddie Gardner States on holiday, he was trapped set, British Traditional Jazz 1936- Danny Polo certainly died of a Bert Read, Billy Amstell, Max Goldberg ‘once again Danny Polo has and Max Bacon among others), there by wartime travel problems 1963: A Potted History , the first cerebral haemorrhage on July 11, I folded his tent like an Arab and as his own Swing Stars included the and decided to stay – and form a track is Jazz Me Blues by Danny 1949. Bert Ambrose was asked to silently crept away’. Joe Crossman likes of Tommy McQuater and band. The Jack Harris Band Polo’s Swing Stars. But this comment: ‘This shocks and again filled the chair, leaving Lew Dick Ball and now, in January rehearsing in New York had few apparent pioneer of British grieves me terribly. Danny was Stone to find a replacement – 1939, the Melody Maker reported big names, only Larry Tice, Irving traditional jazz was born in such a phenomena (sic), saxist there is no suggestion that he him recording with a mouth- Brodsky, Sam Weiss – and Danny Clinton, Indiana. More than any was tempted to recruit a certain watering line-up of Alix Polo who had had plenty of and clarinettist, that in my other of the American jazz stars volatile American! Combeller, Philippe Brun, Oscar reasons to leave France. opinion he could easily have been who came to the UK between Aleman, Garland Wilson, Louis one of the greatest dance band the wars, Danny Polo became a Whilst Danny was the subject of Vola and Jerry Mengo, with vocals After that Danny played briefly instrumentalists of all time.’ fixture on the London jazz scene, solemn tut-tutting on the front from Una Mae Carlisle. with and, 1941, a last though trawling through the page (‘Danny is a great player, but There are two ironic codas to shot at glory, ghosted Bing Then came a proviso: ‘He National Jazz Archive’s collection Joe is no whit inferior and is one Danny Polo’s time in Britain. On Crosby’s clarinet in Birth of the suffered a bit from temperament of past editions of the Melody not addicted to moods or off- March 4, 1939, the MM reported Blues alongside Jack Teagarden. so that his playing was not always Maker suggests that he was days’), inside he remained a star, that, with Ray Ventura’s Then it was pretty much Claude consistent’, added Mr. Ambrose – always something of a maverick. as the 1937 Leonard Feather Collegians about to tour Britain, Thornhill all the way, rather an well, he would, wouldn’t he? My own father’s reminiscences of feature proves. In March 1939 he the major clarinettist on the academic last phase of the career London in the 1930s always was included in Ken Evans’ list of 1930s London scene had been of a Chicago-style clarinettist. I am especially grateful to David brought in Danny Polo alongside Clarinet Kings, though the refused a work permit as an ‘Never a fully committed jazz Nat Gonella, George Chisholm, Nathan at the National Jazz Archive presence of Mezz Messrow and American! With no hint of a organisation’, according to Brian for his constructive assistance. In Al Bowlly and other favourites Ted Lewis may possibly take the possible connection and tongue Priestley, the Thornhill band was addition to the past editions of the and, though I’m sure my father shine of it. nowhere near cheek, the report ‘subtle and intelligent’ and the knew he was American, as a Melody Maker , Memory Lane the strict business man of the with the New Yorkers and, while the edition of December 28, went on, ‘Coincidentally we are band’s arrangements by Gil Evans youngster I always assumed he International band, keeping a foster-fatherly he was no Bill Challis, he does a 1935, the headline was, ‘DANNY In 1938 he was reported to be in able to reveal that Ambrose put inspired into his was British. France, about to join ‘the well- through a telephone call to ‘Birth of the Cool’ phase. Hence, (www.memorylane.org.uk) has eye on Bix and treating him like good job re-creating the Jean POLO SELLS UP AND proved very useful and I also made the wayward kid he was. If Tram Goldkette favourite, Sunny RETURNS TO THE STATES: reputed coloured band of Willie Danny in Paris last week with a no doubt, wikipedia’s reference Born in 1901, the son of a use of Rainer Lotz’s excellent and hadn’t had such a deep Disposish (with a vocal by Al POGGY INTO THE BREACH’. Lewis’. The location was correct, view to making enquiries to Danny Polo playing ‘several clarinettist, Danny Polo played immensely thorough notes for understanding of Bix’s Bowlly, on the last stage of his Danny had sold up everything the ensemble not so. Danny regarding the possibilities of experimental sessions’ with Miles clarinet from the age of eight. In Americans in Europe on Jazz weaknesses, Bix might have died journey from Mozambique to with ‘suddenness and joined the fine band of Ray rejoining his former leader.’ in 1947-48. his own account to Leonard even sooner than he did.’ London’s West End), or unexpectedness’, so urgent was Ventura with whom he recorded Then, on July 6, 1940, came Oracle. Feather in the May 29, 1937 producing a rowdier version of his need to depart that his house, with the last of several top-class Danny’s last encounter with a Then on July 23, 1949, Danny RON SIMPSON Melody Maker , he launches into So there he was, maybe 25 years the Bix of Ostrich car and other effects went for ‘a one of those tales of prodigious old, socialising with the ‘studious, Walk . His alto playing is actually mere song’ and ‘the disposal of youth that may be at least partly collegiate’ Bix Beiderbecke and as effective as his clarinet which his home in England seems to true: taking lessons in responsibility is heard at its best on Clarinet spell finality’. Apparently the from Frank Trumbauer, a Marmalade where, curiously, given move was made on the Friday ‘Mother had spanked me for promising start – if your health the Ambrose connection, he before a Saturday broadcast and something or other and I cried holds up. But he was with sounds rather like Sid Phillips. The the multi-reedman E.O. Pogson and crawled miserably under the Goldkette a mere three months, band, incidentally, contained one (two decades later a stalwart of bed. In doing this I bumped into part of a pattern of leaving bands undoubted jazz great, the Kenny Baker’s Dozen) saved the two which my dad kept and changing location that stayed drummer , doubtless day. there. Well, by the time I crawled with him until finally he spent bent on investigating the art out again from under that bed, I some seven years with Claude galleries and distilleries of But there was nothing final after was playing scales!’ Thornhill at the end of his life. Europe! all. He soon returned and, on Danny Polo’s 1937 account goes March 5, 1938, Ambrose was seen on to mention associating with Details of exactly when Danny This time it seems the band left as the aggressor: ‘AMBROSE the likes of Polo first came to Europe differ, Polo, rather than the other way DISPENSES WITH ANOTHER (perhaps forgotten now, but a but by chance, en route to the around. Carhart skedaddled back STAR.’ As the Melody Maker said, well-known pianist in his day and Archive, I was playing a new Jazz to New York and ‘For some time it has been an composer of Bugle Call Rag and Oracle release, Americans in banjoist/guitarist Tony Morello open secret that ace-clarinettist Nobody’s Sweetheart ) and Buster Europe , including 16 tracks was installed as leader over his Danny Polo and his leader have Bailey, then came the great recorded in Berlin in 1927-28 by designated successor, Danny not been seeing eye to eye on opportunity: a useful little group, the New Polo. Poor pay resulted in the questions of discipline, and those Yorkers, put together by George break-up of The New Yorkers, in the know were not surprised ‘Don Murray, who was to meet Carhart, more chancer than with Danny Polo and others when, at the beginning of this his death a year or two later in musician. Interestingly, the CD heading for Paris. week, Ambrose decided to an accident, had to leave Jean booklet suggests why Polo never dispense with Danny’s services.’ Goldkette’s Orchestra, and built a career in Chicago: in 1925 It seems to be generally accepted Joe Crossman was recruited through a great stroke of luck I he was in Carhart’s band for a that Danny Polo arrived in Britain from 's band as his was recommended to Goldkette 105-day world cruise for the in 1929, but it was 1932 before replacement. The following for the job of replacing this fine American Dollar Line, soon the Melody Maker announced that month Danny, who had been artist. followed by a four-week cruise of he had joined Ambrose as lead widely reported as about to the Baltic for the same line. alto, though, given later events, return to the States, returned to ‘Bix was my buddy in the band that could have been a re-joining! the Ambrose band and Joe and we were out on some real Danny Polo was arranger as well From then on the spats between Crossman returned to Lew jags together. Tram was always as playing alto sax and clarinet the two made front page news. In Stone! 12 THE JAZZ RAG THE JAZZ RAG 13 TEN DAYS IN LONDON TEN DAYS IN LONDON

you get East 17 Jazz Collective Emilia Martensson TEN DAYS IN LONDON who have developed their own appearing at Kings programme in places like Place November 17th RON SIMPSON talks to JOHN CUMMING of Serious about the aims and achievements of the London Jazz Festival. Walthamstow. They have negotiated a commitment from t’s easy to think of the London how the festival began: a way of spreading the festival. to year-round jazz promoting pubs and arts centres. Or there’s Jazz Festival in terms of the ‘It inherited the mantle of the From the beginning we wanted venues, but what’s it like dealing Way Out West, another Igreat American names who Camden Jazz Week which was an to build a relationship with the with venues that have the musicians’ collective that involves pepper its 10-day programme event run by the borough initially venues that put jazz on reputation and the clout of many people like Tim Whitehead and (November 9-18) – Sonny as part of the Camden Music throughout the year, using the 10 in the centre of London? – and also Eddie Rollins, Herbie Hancock, Jack Festival which ran until the days of the festival as a Surprisingly easy, it seems, Harvey. This is the third festival DeJohnette, Robert Glasper, 1990s. In the wake of the local celebration of what goes on in because Serious has a running we’ve celebrated Eddie’s David Murray and the rest – and authority changes in the Thatcher London anyway, but giving it relationship with them outside birthday! The festival gives them in terms of the iconic venues it era Camden couldn’t sustain the added value and drawing the festival time. From the beginning, an enhanced profile. employs: from the great concert commitment. I’d been working on attention of the big wide world there was the Royal Festival Hall halls to all the capital’s major jazz the Camden Jazz Week since the to the fact that jazz is a living connection and recently Serious ‘The Forge in Camden is a clubs. However, as conversation late 1970s on the programming part of the culture of the city. inserted a little jazz series into fabulous Italian restaurant. It was with John Cumming of Serious, side, so we negotiated a kind of Jazz in London has always had a the RFH celebration of the opened by a family with a great the originators and promoters of handover. It was the only London very interesting dynamic with Festival of Britain – coincidentally enthusiasm for all sorts of music. the London Jazz Festival, soon jazz festival that interacted with different communities. Joe Harriott came to this country They built a 100-capacity concert proves, there is much more to it the local scene, though George in 1951 which provided one hall at the back of the restaurant than that. Wein and Capital Radio were ‘Now there is a central hub in strand. Serious has also with a lovely natural acoustic and touching points between different sense that there was a resource composition, especially from the bringing in stars on the touring the big concert venues and clubs developed a year-round a cracking piano. This year we musical styles and different there that we could make use of.’ 1960s when the likes of Mike For a start, around 60 venues are circuit. We took Camden as the around the West End – and the connection as associate producer have a grant from the European cultures.’ The immediate legacy is less Westbrook, , used in the festival and, though basis to set up a city-wide East End now – but we also work at the Barbican, working on Union to deliver a programme certain: he cannot be sure what , Joe Harriott, some may be as mighty as the festival. a lot in more far-flung places, not programming, not only of jazz called Jazz in the New Europe, John talks so much of building the effect will be on ticket sales – and Royal Festival Hall or the only with jazz venues like the events. As for Ronnie Scott’s drawing attention to various bridges and establishing contacts are the Londoners all spent up? – first impacted on the jazz scene. Barbican, others are as homely as ‘The 1993 festival was rooted in Bull’s Head at Barnes, but also Serious goes back a long way: the strands in European jazz. We’ve that I had to raise the subject of but, there again, selling tickets is As part of this strand Peter your local suburban arts centre. Camden, Islington and Hackney, with arts centres and theatres company’s original offices were used some of that funding to take the Olympics. How did the 2012 more problematic in the Edwards and Gary Crosby create Similarly the 300 events range with much fewer events than and colleges in the outskirts. The just round the corner from Frith a duet of Bengt Hallberg and London Jazz Festival relate to this recession anyway. their own response to Joe from big-name concerts to jazz now, though even then we had festival reflects the city itself Street. (The present home of Karin Krog into the Forge which year’s noisy neighbour? The Harriott’s music, Chris Garrick education in primary schools. quite a big international which is this huge urban sprawl. Serious, incidentally, is an airy and is a perfect venue for them. The answer is again very positive. As Funding is a delicate balancing act revisits his father’s small band This is the 20th London Jazz programme, using places like the One of our dilemmas was how spacious couple of classrooms in atmosphere will be absolutely part of the Cultural Olympiad, between public funding, compositions in the company of Festival, a cause for celebration, Hackney Empire, Union Chapel to make an impact for jazz in a an Edwardian ex-school 15 right and the acoustic will suit Serious set up BT River of Music, commercial sponsorship and a group of younger musicians, though John Cumming explains and Bloomsbury Theatre. We city of 10 million people and we minutes walk from Kings Cross.) the musical balancing act that concerts on six open-air stages ticket sales. The London Jazz plus Art Themen and poet Jeremy that they’ve decided to delay the built out slowly from Camden felt that the idea was not to fight they do. So you’ve got two iconic linked by the river, each Festival is about to lose its prime Robson and Shabaka Hutchings, festivities until the 21st as and, because Serious had a the city, but to work within it. We Where a venue has a rigid figures in Scandinavian jazz representing a continent, but sponsor, BBC Radio 3, but this is presents a totally new piece in a London 2012 has had alternative producing relationship with the decided that the best thing was programming policy, that can be playing two very special concerts with collaboration between a prearranged decision, the BBC commission. And, as for John celebrations which might have Festival Hall at the time, we to work with venues that are turned to advantage. Kings Place, in London. Bengt hardly plays continents. For instance Asia – sponsorship deal was always Surman, his contribution to diverted attention! John explains started to use the South Bank as committed to putting jazz on in a splendid 400 capacity concert these days, but he was one of the led by tabla player Zakir Hussain planned to expire in 2012 and London Jazz 2012 is a major different parts of the city and hall near Kings Cross, will only first European bebop players.’ – staged a project originally Radio 3 and the festival will choral piece (another Radio 3 have the festival touch them. programme in thematic chunks commissioned by Serious and the continue to have a strong commission) performed on Obviously, when we bring in the so promoters have to do three What is Serious’ role year-round? Celtic Connections Festival in relationship for broadcasts and successive nights at the big international stars and have or four concerts consecutively We are all familiar with 18 months ago where commissions. The London Jazz Huddersfield Contemporary the new projects and with some kind of a link. In the numerous tours, plus the Zakir Hussain’s classical Indian Festival has many commercial Music Festival and the London commissions, these tend to Festival this has proved the ideal promotion of other festivals at group joined with an elite group sponsors to whom it is grateful, Jazz Festival. involve the centre more than the place for Marcus Roberts – with such places as the Sage of Scottish and Irish traditional but just at the moment outlying districts.’ what John calls ‘a personal way of Gateshead, but how much does musicians in Battersea Park. The negotiations are proceeding for a It’s quite possible to think of moulding jazz tradition’ – to do a Serious work outside jazz? John range of BT River of Music is new title sponsor to succeed organising a jazz festival in However Serious is approaching series of concerts with his trio identifies jazz as the core of the indicated by the following list of Radio 3. London as being easy: all those running the festival, John and his joined by ever-expanding bands company’s work, but also admits performers: Hugh Masekela, musicians, all those concert halls colleagues must be doing from the outstanding Guildhall to a commitment to world Wynton Marsalis and the Lincoln You take a festival on the scale of and clubs, 10 million potential something right. Five years or so School of Music jazz programme music, whilst disliking the term Center Orchestra, the Kronos the London Jazz Festival and attenders and, of course, all those ago, the festival was voted Best looking at different aspects of (‘It doesn’t mean very much’). Quartet, ’s Band there isn’t time to cover it all fat cats in business, commerce London Festival by Time Out jazz history. The company works with and – wait for it! – the Scissor over a mid-morning coffee, but and finance who, after a hard day, magazine. John was particularly musicians from all over the Sisters. let’s manage a quick word about like nothing better than relaxing pleased by this as jazz is so often But what of the less well-known world, with John identifying South commissions. John ran the with a glass of Veuve Cliquot and seen as a niche music, but it is, he venues? I invited John to tell me America, South Africa and ‘We just managed our ambition Bracknell Jazz Festival as far back a Wynton Marsalis CD. And I reckons, a very important niche – about some of the places and Eastern Europe (especially the of getting one participating as the 1970s and so remembers guess in some respects it is and part of his job is to enhance groups he thought were typical of Roma) as areas of particular musician from each Olympic- well the time when half of jazz easier, but a remarkable number its profile as part of the cultural the more out-of-the-way interest. competing country. Some of this history was still alive and playing. of the most successful British jazz mainstream: ‘Making an impact ventures promoted by the He claims, ‘The things that drive was helped by having Andy Now it’s no longer so, he festivals are based in small towns. for jazz in a very busy concert festival. He came up with a type the company are quality and Sheppard’s Saxophone Massive increasingly looks to commission Probably the major problem of season in November makes a of promotion, followed by an relationships with artists’, citing when there were 200 saxophone things which explain jazz history running a jazz festival in London significant statement on the anecdote about a favourite such diverse performers as folk players in Somerset House.’ by shedding a fresh light on the is obtaining a sharp enough focus importance of the music itself.’ venue: hero Richard Thompson and the past. This year, for instance, to register among the counter- Kronos Quartet from America as The buzz word in Olympic terms , accompanied delights of the metropolis. And One matter that interested me ‘We’ve been interested in where artists Serious has handled for is ‘legacy’ and John is confident by a group led by , focus is something that John was the relationship with the collectives of musicians in years. Another Serious mantra, the Games will have a positive revisits the music of . To Cumming and Serious are not venues. John talks animatedly different parts of London have very world music-friendly even if legacy for jazz and the festival: me the most interesting strand short of! Photo by John Abbott about the festival’s commitment created their own epicentre, so he hates the phrase is, ‘finding ‘We went into it with a positive examines British jazz www.londonjazzfestival.org.uk 14 THE JAZZ RAG THE JAZZ RAG 15 BIG BANDS BIG BANDS

style was a major influence on playing on an occasional basis, he It is ironic that ’s Jimmy Dorsey had some slight WHAT IS THIS THING Orchestra, the definitive swing connections with bebop, , was never formed the Second Herd. Very band, was an important early step performing Dizzy Gillespie’s bothered by bop and he much a bop-oriented group and in changing the function of the arrangement of Grand Central smoothly incorporated some of one that looked towards cool CALLED BOP? rhythm section from swing to Getaway in 1944, using Serge its innovations into his own jazz, the Second Herd featured bop. The lighter feel, with Walter Chaloff as his baritonist for a music. , and Herbie The second part of SCOTT YANOW’S account of Big Bands Page’s bass and ’s time in 1946, and in 1949 Steward (soon succeeded by Al The King of Swing, Benny Cohn), Serge Chaloff, Red after the Swing Era 1945-50 guitar keeping a steady rhythm employing Maynard Ferguson in and Jo Jones de-emphasizing the his trumpet section for a few Goodman , was curious about Rodney, Terry Gibbs and modern ith the end of the recorded that year, but the public bass drum, was matched by Basie months. But Dorsey, who was bop, but never seemed to know arrangements. While it became swing era, big bands in was not ready or willing to minimal left hand. While some of admired by , never what to do with it. His band in highly influential and yielded Four Wthe United States embrace the new sounds. the arrangements played by the crossed over and was happiest 1946 was strictly swing. After its Brothers , the band struggled and broke up at an alarming pace band later in the 1940s were playing swing and Dixieland. breakup, Goodman listened to died altogether before 1949 was during 1946, climaxed by eight It was a very unusual situation boppish and such players as bop and in 1948 put together a finished. orchestras disbanding in where top jazz musicians, many Jacquet, Lucky Thompson, Tommy Dorsey never hid the modern septet, a unique outfit December. While some of the of them nationally famous Paul Gonsalves, and Clark Terry fact that he hated bebop, and he that also featured clarinetist Stan One would not think of Harry major bandleaders soon formed bandleaders who were still just in were open to bop, Basie’s still blamed it for the decline in the Hasselgard (the only time that James as a bebopper, but he new orchestras, it was obvious their thirties, were suddenly remained an unmatched swing band business. Still, he used such Goodman featured another took a solo on his 1947 that a new strategy was needed considered old hat and behind band. But bad business decisions modern soloists as clarinetist clarinetist), tenor-saxophonist recording of Tuxedo Junction in order to survive. The . Here is how 16 of the and the Count’s gambling debts Buddy DeFranco, tenor- Wardell Gray and pianist Mary where he could have passed for Gillespie and Bop Boogie before 1938 and he gave up in competition from pop singers, bandleaders (discussed in (from losses at the racetrack) saxophonist Boomie Richman, Lou Williams. The recording Fats Navarro. The leader of the moving back to swing in 1950. frustration. rhythm & blues and Dixieland alphabetical order) tried to cope resulted in him having to cut back trumpeter Charlie Shavers and strike kept this group off records most commercially successful meant that swing was no longer with the situation. to a septet later in 1949. drummer although although intriguing broadcasts jazz/dance orchestra of 1943-46, In the swing era, Boyd Raeburn the thing. Why not try bop? he primarily had them playing have been released. The only James had his music open up to ’s use of led a minor league outfit that Louis Armstrong had been was an influence swing. Goodman recording from 1948 is the influence of bop during 1947- French horns and tuba, unisons played commercial music. Things The Orchestra in leading big bands since 1929 and, on some of the bop singers and a very boppish rendition of 49 before closing the door by his reed section on clarinets, 1943 was the first bebop big although his orchestra in the he featured the young Dizzy Duke Ellington preceded the Stealin’ Apples featuring Gray and altogether in 1950, instead opting changed drastically during 1944- and haunting vibratoless tone band, featuring Charlie Parker 1940s was not considered a Gillespie as his trumpet soloist swing era by a decade, seemed trumpeter Fats Navarro. In 1949, for sounding like Count Basie’s 45 when Raeburn began hiring colors made his orchestra the (on tenor), Dizzy Gillespie, Sarah pacesetter and barely recorded during 1939-41. However, he somewhat amused by the Goodman led his most modern band during his remaining three major musicians including Roy first cool jazz big band as early as Vaughan and in its after 1942, it was a solid outfit never cared for bebop. In 1948 proliferation of swing bands orchestra, one that emphasized decades. Eldridge, Sonny Berman, Trummy 1941. His second band, formed in Young, Oscar Pettiford, Lucky personnel. Unfortunately no that played Joe Garland he broke up his big band, during 1935-45, and created his the boppish arrangements of late 1945, had Gil Evans as the Thompson and Dodo recordings were made and not arrangements. Starting with his continuing with a septet called own musical world. Although Chico O’Farrill. With Gray, forged his own main arranger and in 1947 Marmarosa. One of the earliest even a radio aircheck has appearance at the legendary the Cab Jivers that included business fell off a bit for him after trumpeter Doug Mettome and individual musical path, not really featured Red Rodney, Lee Konitz versions of A Night In Tunisia was survived to let us know what the Esquire Jazz Concert in 1943 and trumpeter Jonah Jones and 1945, due to his song royalties pianist Buddy Greco as the key being part of the bebop era. and clarinetist Danny Polo as the soloists, Goodman almost Initially influenced by Jimmie Raeburn’s recording which group really sounded like. Billy continuing with his work in the bassist Milt Hinton. In 1949 he and his fame, Ellington never key soloists along with the sounded like a sideman in his Lunceford’s style, Kenton featured guest Dizzy Gillespie. Eckstine in 1944 headed his own film New Orleans and at special recorded a hilarious version of broke up his band. He added such leader’s piano. The repertoire own band, particularly on such achieved his goal of leading a The following year, his band orchestra, featuring the who’s all-star appearances, Armstrong He Beeped When He Should Have modern soloists as clarinetist included Charlie Parker and who of bop for three years was gradually persuaded that it Bopped (much funnier than the Jimmy Hamilton, bassist Oscar numbers as Undercurrent Blues, concert orchestra as opposed to became one of the most radical Dizzy Gillespie pieces arranged in including Parker, Gillespie, was time to return to leading a earlier Dizzy Gillespie recording), Pettiford and in 1950, tenor- Bedlam, Egg Head and Bop Hop . By a dance band. During 1945-46 his in jazz with George Handy’s unique fashion by Evans. Miles Vaughan, Fats Navarro, Miles smaller group. He broke up his making fun of both bop singing saxophonist Paul Gonsalves, and the end of the year, Goodman’s band actually grew in popularity, dissonant and eccentric Davis first got in touch with Davis, Gene Ammons, Dexter big band in 1947, formed the and his own ‘Hi-De-Ho’ style. modernized his writing a bit. bop experiment was over and he balancing the complex concert arrangements completely Gordon, Art Blakey and many Louis Armstrong All-Stars and Ellington, whose percussive piano returned permanently to swing. pieces of with more changing the direction of the Evans about his arrangement of other up-and-coming jazz greats. never looked back. swinging pieces featuring June orchestra. The band continued to Donna Lee and the eventual result Eckstine kept the big band going Claude Thornhill Bop caused Christy’s vocals. Typically Kenton grow (adding French horns and a was Davis’ Birth of the Cool as long as possible before finally Charlie Barnet led a series of no problems for his music mixed did the opposite of the other harp), its music got more and Nonet. giving up in 1947 to start his solo rollicking bands during 1939-49 bop with explosive ensembles, bandleaders. After making it more avant-garde (even after career. Dizzy Gillespie, who led a that could often sound similar to honking saxophones, screaming through 1948, he broke up his Johnny Richards succeeded By the end of the decade, the short-lived orchestra in 1945, had his idol Duke Ellington. As early brass and his own showmanship. orchestra right before the Handy), and somehow it survived idea of big band bebop catching better luck in 1946 and was the as 1944, he used such beboppers He used such musicians as Fats recording strike ended, taking until late 1947. Raeburn’s on commercially was over. Even pacesetter among bop as pianist Dodo Marmarosa and Navarro, Kenny Dorham, Arnett 1949 off. And then at a time orchestra left behind such unique Dizzy Gillespie’s orchestra broke bandleaders for nearly four years. guitarist Barney Kessel; the 1947 Cobb, Wes Montgomery, Dinah when many big bands were recordings as Boyd Meets up. Out of the 16 bands discussed edition of his band featured Clark Washington and even Charles permanently breaking up, Kenton Stravinsky, Tonsillectomy , and in this article, eight were gone by Quite a few of the swing era big Terry. Barnet decided to give bop Mingus, recording the futuristic returned in 1950 with his Dalvatore Sally . the end of 1949 with Claude bands that were still in existence a real shot in 1948 and his band Mingus Fingers in 1947. Few could Innovations Orchestra which was Thornhill giving up before the in 1947 were influenced by the following year often played excite audiences on the level of comprised of 38 musicians was displaying the end of 1950, influence of bop in his clarinet as Gillespie’s example. Their arrangements by Pete Rugolo, Gil Hampton, who could always raise including 16 strings! disbanding in 1951, and the arrangements and soloists Fuller, Manny Albam, Johnny early as his 1945 recording of the roof with Flying Home . Dorsey Brothers joining forces in became more modern that year Richards and Tiny Kahn. His Gene Krupa was one of the Easy To Love . After being semi- a nostalgic swing band in 1953. as they searched for new trumpet section included Rolf had a fine main stars of the swing era and retired during 1947-48, he put Only Duke Ellington, Stan directions. A major recording Ericson and three screaming lead second-level band during the the first superstar drummer. together a boppish big band in Kenton, Lionel Hampton, Harry strike by the Musicians Union in trumpeters in Maynard Ferguson, swing era, featuring instrumental During 1945-46 his big band 1949 that included , Zoot James and (after forming new 1948 kept professional musicians Doc Severinsen and Ray Wetzel. blues and his own vocals. During evolved from a swing group to Sims, Dodo Marmarosa, Jimmy off records for most of that year. Barnet even had Dave Lambert 1944-46 Herman’s Herd (later one that was influenced by Raney and Don Fagerquist, bands) Woody Herman and In 1949 several record labels and Buddy Stewart singing called the First Herd) was the bebop. Among his soloists were playing arrangements by Cohn, Count Basie were able to lead (most notably Capitol) did their ‘Bebop spoken here’. But despite most exciting new big band in Don Fagerquist, Red Rodney, and Tadd Dameron, Johnny Mandel, regular orchestras in the 1950s best to make bebop into the causing a great deal of jazz, featuring riotous ensembles, Charlie Kennedy (the first big Gene Roland and George Russell. and none of them were playing latest fad, hoping that it would excitement, the Charlie Barnet major soloists in Flip Phillips and band altoist to be strongly Although Shaw was very proud strictly bop. become the commercial success bebop band was a commercial Bill Harris, and stretching swing influenced by Charlie Parker). of the band, it only lasted a few that swing had been earlier in the flop and by 1950 he was back to to the breaking point, sometimes Krupa recorded several Gerry months. The public wanted Shaw But it was a nice experiment decade. A great deal of unique playing swing. crossing over into bop. After Mulligan arrangements (including to keep on playing Begin The while it lasted. and remarkable music was spending much of 1947 only Disc Jockey Jump ), Calling Dr. Beguine in the same way he had in 16 THE JAZZ RAG THE JAZZ RAG 17 BRITISH JAZZ AWARDS 2012 BRITISH JAZZ AWARDS 2012

The nomination panel is as follows: Courtney Pine THE 26TH YEAR OF THE JAZZ OSCARS Bob Weir ( Jazz Journal ) Chris Hodgkins ( Jazz Services ) Cole Mathieson (The Concorde Club) ( ) David Nathan (The his year’s British Jazz the rails in a rare triumph for in the Trombone section, no one The Big Band and Small Group National Jazz Archive) Dick Laurie ( Allegedly Hot News International ) Awards, the 26th year the Chicago jazz. Probably the best can doubt that any of them categories are also full of Fred Lindop (Swanage Jazz Festival) Jerry Brown (Norwich Jazz Party) T‘Jazz Oscars’ have sign of the discernment of MM would be a worthy winner – and interest, with experimental 14- John Hemming (MP) Liz Lincoln (Promoter) Lord Anthony Colwyn recognised the best in British jazz readers is the quality of names they cover a fine range of styles! piece Beats and Pieces, winner of (Chair, All Party Parliamentary Jazz Appreciation Group) Mike Gordon talent, will be presented for the for the New Stars award – by The Miscellaneous Instrument last year’s Burghausen European (Scarborough Jazz Festival) Mike Pointon (Jazz Writer)Peter Vacher first time in the famous and large they picked the right category has rather more variety Young Artists Jazz Award, up (Jazz Writer) Roger Cotterrell (Book Publisher) Ron Simpson ( The Concorde Club in Eastleigh people, Brian Dee, , than the regular baritone saxists against three established and Jazz Rag ) Tony Augarde ( Musicweb International ) which, if there were a Best Club . Of course there and vibes players: Alan Barnes and highly successful big bands. And category, would be up there were giants in the land in those Jim Hart are there, but so, too, what a selection in the Small Nominations for the 2012 British Jazz Awards challenging every year. The days (maybe there are now, but are Christian Garrick’s violin and Group section! Digby Concorde Club is an even longer we haven’t noticed!) and Courtney Pine’s soprano sax! (I Fairweather’s Half Dozen defend are as follows: established British jazz interestingly the categories with can’t help noting the omission of their title against the spectacular institution, founded by Cole greatest signs of strain were the one excellent baritone saxist Scots front-line-only quartet TRUMPET Mathieson in 1957, its 50th vocal ones, where today voters who gets her nomination for Brass Jaw, the highly original New Bruce Adams, Enrico Tomasso, , anniversary commemorated in a have an enviable choice. The Tenor Sax). The Rising Star Orleans-based group Tipitina, and lavish book published in 2008. Melody Maker made it difficult for section is especially strong this the Great Wee Band, TROMBONE Enrico Tomasso with and Roy Williams The Concorde’s top jazz events itself by maintaining separate year, though some may dispute straightahead jazz from a quartet Dennis Rollins, Ian Bateman, , Roy Williams are usually the International Jazz categories for Male, Female and whether last year’s winner (Amy including three individual Night on Wednesdays and Vocal Group. There was the year Roberts) and runner-up (Jamie nominees: Henry Lowther, Jim CLARINET Sunday’s New Orleans Jazz for when the 1-2-3 of Male Jazz Brownfield) should be counted as Mullen and Dave Green. Alan Barnes, Julian Marc Stringle, Mark Crooks, dancing. However, Monday Singers was Matt Monro, Long Risen Stars – similarly with Lewis October 22nd will be a very John Baldry and Bobby Breen – a Wright who has been picking up Voting for the British Jazz Awards ALTO SAXOPHONE special jazz evening, with certain came awards from his teenage years closes on October 12th. Full lists Alan Barnes, Derek Nash, Nigel Hitchcock, Peter King entertaining speeches, edge-of- fourth! onwards. How do you define of nominees and further the-seat envelope ripping and Rising Star? The Jazz Awards does information can be found on music from 10 or so of the UK’s So did folks in 1962 say, ‘Not it solely on age – and a very www.britishjazzawards.com and , Karen Sharp, Robert Fowler, finest, winners of the 2012 British again!’? Highly strict age limitation it is, too – 26. votes can be cast on PIANO Jazz Awards. unlikely! The difference with the It’s much to the credit of the tiny.cc/jazzawards. Craig Milverton, Dave Newton, Kit Downes, British Jazz Awards is the British jazz scene that there are Or you can use the voting form But who will these winners be? existence of a nominating panel. so many established musicians on the carrier sheet, returning it GUITAR There is a school of thought that This has the advantages of and leaders in their early 20s. to British Jazz Awards, PO Box Dave Cliff, Dominic Ashworth, , Martin Taylor Photo by Merlin Daleman believes that more variety in the recognising fine players with less With James Maddren, drummer 944, Edgbaston, Birmingham, B16 nominations would be a blessing. popular appeal and of suggesting with Kit Downes and Gwilym 8UT. BASS Len Skeat After all the likes of Roy Williams names to floating voters. It has Simcock, this is an exceptional , Andy Cleyndert, Dave Green, Len Skeat and Martin Taylor have been in the disadvantage of implying to selection, but, if you know a For tickets and information about the ascendant for a quarter of a some people that only those four stunning new player our the presentation event visit DRUMS century and show no sign of musicians can be voted for. The nomination panel has failed to www.theconcordeclub.com. Bobby Worth, Ralph Salmins, Sebastiaan De Krom, Steve Brown going away, Dave Green and Len great mystery of the Jazz Awards notice, it’s time for Box E! Skeat dominated the double bass is The Disappearance of the Fifth MISCELLANEOUS category in the early years and Placed Musician. In a category Mark Nightingale Alan Barnes (baritone saxophone), Christian Garrick (violin), are still challenging a flock of where far more than four Courtney Pine (soprano saxophone), Jim Hart (vibraphone) other excellent musicians for the musicians are worthy of award, Alan Barnes puts in his nomination, such as Tenor Sax, VOCALS regular annual assault on at least maybe 6 or 7 get a similar Claire Martin, Liane Carroll, Liz Fletcher, Val Wiseman three fronts. On the other hand, number of votes from the if Martin Taylor is the best Nomination Panel. After much RISING STAR guitarist, he’s the best guitarist! head-scratching and use of Amy Roberts, James Maddren, Jamie Brownfield, Lewis Wright At one time no award-winner casting votes, the four are chosen was allowed to defend his/her – and what happens in the poll? BIG BAND Photo by Merlin Daleman crown so there was a different The chosen four all receive ten Back To Basie, Beats and Pieces, NYJO, Scottish National Jazz winner each year, but this was times the number of votes of Orchestra clumsy and artificial and their previously close Robert Fowler Photo by Merlin Daleman sometimes came dangerously competitors! SMALL GROUP close to the concept of a Rugby Brass Jaw, Digby Fairweather’s Half Dozen, The Great Wee Band, Union tour, with the separate So let 2012 be the Year of Box E! Tipitina Saturday and midweek teams! Voters can always add a name of their own choice in any category, NEW CD I recently took a look at some of so you have the chance to spring Derek Nash Acoustic Quartet: Joyriding (Jazzizit), The Great Wee Band: the well established Melody Maker a surprise when the names are Light Blue (Trio), John Surman: Saltash Bells (ECM), Karen Sharp: Spirit polls of the early 1960s and read out at the Concorde Club (Trio) found that, with the benefit of on October 22nd. hindsight, the decisions were REISSUE CD mostly wisely predictable. Tubby Not that there’s any shortage of British Traditional Jazz – A Potted History (Lake), Bruce Turner: Accent On Hayes was all over the polls, quality nominations in any Swing (Lake), : Leader And Sideman (Avid), The Joe Harriott and Jimmy category. For instance, if Dennis Story (Proper) Deuchar alternated in a battle of Rollins, Ian Bateman, Mark trumpet styles until one year Nightingale and Roy Williams The full results of the voting for the 2012 British Jazz Awards Freddy Randall sneaked up on form a fairly predictable quartet Photo by Merlin Daleman will be announced in the next edition of The Jazz Rag 18 THE JAZZ RAG THE JAZZ RAG 19 ON RECORD REVIEWS

BILL EVANS TRIO songs – or, worse, a tommy gun emotion of a song like On the Sixties. Starring Zoot Sims is a Basie camp. Neal Hefti’s new Williams' music but the ones she Etta James in the banjo case! Not that I’m Street Where You Live , which souvenir from a jaunt to Paris in charts were truly inspirational, chose are hardly inspiring: mostly THE VILLAGE VANGUARD averse to silly jaunty 1920s songs: should be gentle and touching 1956, Stretching Out (a fine Swing the band had settled personnel, jazz waltzes or straightforward one of my favourite tracks on In instead of showy. However, the there were first-rate soloists, in blues. Mayhew is an adequate but SESSIONS Era homage) is in the company of Glorious Mono is Nagasaki , with album has the bonus of nice Sweets Edison, Bob Brookmeyer every section, notable among not very exciting tenorist and the virtuoso banjo and Danny Blyth’s solos from Art Pepper and Frank and regular confrere Al Cohn and them the excitable tenorist Eddie best moments are provided by Essential Jazz Classics EJC clarinet bouncing merrily over Rosolino. The Jazz Soul of Porgy and Bess is ‘Lockjaw’ Davis, and a rhythm guitarist Ed Cherry and guest 55564 (2 CDs 76:49/68:12) Malcolm Sked’s tuba. But there is an outing for New York’s greatest section that defined swing. Big trombonist Wycliffe Gordon. The far more to Hot Fingers than Back in Town features Mel Tormé sessionmen (Woods, Farmer, band heaven! Basie had made his outstanding track is What's Your One could, of course, take these that. At the other extreme we with the Mel-tones, the vocal Rehak et al) which fails only in UK debut with this very same Story, Morning Glory, which was discs at face value and just enjoy have the change to two guitars group he led in the 1940s and comparison to the better known line-up earlier the same year and actually adapted later into Black the beautiful sounds. In which and string bass for accomplished reassembled for this album. The Miles Davis/Gil Evans version. here on vinyl (yes, that’s what it Coffee and is here enlivened by case you would miss much of Hot Club-style numbers. An trouble is that one hears very was then) was the enduring Wycliffe's cheeky plunger-muted their value. The unpretentious occasional Gallic influence little of Mel and instead most of The real gem however is Down embodiment of its qualities, proof solo and interjections. This album and introspective nature of extends beyond Django to Emily the music consists of the Home , a 1960 quartet set with that our ears hadn’t let us down. may be useful in reminding us of Evans’ music conceals a degree of Campbell’s charming treatment Meltones cooing sentimentally. Dave McKenna, George Tucker From the first explosive shouts of Mary Lou Williams but it hardly pianistic skill and invention that of La Foule (Piaf imitation strictly Mel says he thought of the Mel- and Dannie Richmond, which, this mighty aggregation on The does justice to her reputation. only the very best performers off-limits) and Spats’ romantic Tones as like a sax section but with a repertoire of old Kid from Red Bank with Basie’s can achieve. He conjures an guitar on La Vie en Rose . Ukulele this doesn't enhance their warhorses ( Bill Bailey even!) piano at its centre, through to TONY AUGARDE immediately identifiable tonal Ike’s Hang on to Me is the individuality. proves that Zoot could take the controlled smoothness of L’il quality from his instrument and occasion for manic scatting as unlikely material, mismatched Darlin or the tip-toe delicacy of ETTA JAMES has a very personal harmonic well as dusting down Spats’ TONY AUGARDE personnel and a few hours to Cute and on to the roaring approach which still sounds fresh ukulele. Hot Fingers can do a come up with a casual classic. ebullience of Splanky , every track LIVE AT MONTREUX 1975- after fifty years. There are spot of the light classical, with a was a winner. I envy those who ZOOT SIMS Very recommended. 1993 subtleties, too, of timing and lovely stately version of Grieg’s are coming to this music for the phrasing and a flow of creative Norwegian Dance No. 2 and first time: prepare to be FOUR CLASSIC ALBUMS – SIMON SPILLETT two sons is a blues-rock band range of ’s work. ideas which demand serious Ketelbey’s In a Persian Market , overwhelmed. If the second Eagle Records B0089DOT66, and it punches out an energy to The opening and closing listening. complete with legato tuba solo LEADER AND SIDEMAN album had a less substantive 74.30 which she enthusiastically movements are straightahead and snake-charming clarinet. COUNT BASIE impact, that was no shortcoming; responds. swingers, the sort of thing you’d The contributions of bassist There are plenty of standards Avid Jazz AMSC 1061 Hefti’s arrangements were again There could hardly be a better expect from the composer of the Scott La Faro and drummer Paul here (three Irving Berlins and a 2 CDS (159.09) THE ATOMIC MR. BASIE varied and stimulating and the tribute to the late Etta James, One of the Greats in any Kansas City Suite for Basie. Motian are also extremely suitably exuberant Tico Tico, for band was still in commanding who died in January this year, category and, in Etta James’s case, Working inwards we come to a important. The delicate balance example), but Spats does a nice I don’t think Zoot Sims ever form, all this heralding Basie’s than this compilation from her Phoenix 131563 (73.43) a Great in all of them. couple of fine ballads, featuring created by their three-way line in digging up forgotten made a bad record, whether 1950s re-birth, these superb four appearances at the the brassmen, Phil O’Malley with interplay could so easily be material, notably two gems from under his own considerable releases (each reissued here with Montreux Festival over the years BASIE PLAYS HEFTI JOHN MARTIN lovely legato trombone on DN destroyed by a wrong use of Victor Young. The Old Man of the steam or as a sideman, so the bonus tracks from the period) between 1975 and 1993. and Billy Hunter’s warm trumpet dynamics, an ill-timed phrase or Mountains is a particular delight, combination of artist and chosen presaging a period of tones on The Clyde . In the middle poor intonation. persuasively sung by Spats, with material on this latest Avid Phoenix 131558 (76.40) extraordinary success for the Etta James was a singer who ALAN BARNES/KEN is the most ambitious piece, Danny Blyth’s geriatric dance on double guarantees quality in band and its leader. defied categorisation. She MATHIESON’S Waltz , scored in the reduced These two CDs cover four bass clarinet adding to the fun. every way. What can one say afresh about a spanned all the genres - Blues, R version for a reed section of two separate live performances from favourite recording? When it first PETER VACHER and B, jazz, soul and even CLASSIC JAZZ clarinets, tenor sax and bass 1961. If this results in several RON SIMPSON Long time Zoot fans will know appeared in late 1957 on the rockabilly – and won awards in all ORCHESTRA duplications of titles, it also these recordings well and they Roulette label, the Atomic album these fields. These eleven tracks clarinet, with a masterly clarinet VIRGINIA MAYHEW solo from Alan Barnes. Most of serves to demonstrate the include a very representative blew most of us away, its are previously unreleased THE GLASGOW SUITE: THE MEL TORME material and they are all the other tracks are Carter remarkable consistency of these slice of the tenorist’s workload freshness and dynamic range QUARTET MUSIC OF BENNY CARTER musicians, especially considering during the late Fifties and early signalling that all was well in the wonderful. She came from a originals, with Symphony in Riffs a the entirely improvised nature of musical line that starts with glorious reminder of his 1930s SWINGS SHUBERT ALLEY + MARY LOU WILLIAMS their music: the only form Bessie Smith, runs through Woodville Records WVCD 133: work, but a highlight for me is the BACK IN TOWN Count Basie imposed on the renditions being THE NEXT 100 YEARS Rosetta Tharpe and, probably, 70.06 re-creation of his marvellous that dictated by the tunes might end with James herself. Honeysuckle Rose from Further themselves. Phoenix 131551 (76.41) Renma 6402CD (63.56) Among the increasing number of Definitions , with exhilarating The disc opens with an explosive repertory orchestras and exchanges between all four The repertoire is a mix of This compilation of two LPs is How many tunes by Mary Lou I Just Want To Make Love To You tributes to jazz greats, this is a bit saxists: throughout Dick Lee, standards and jazz originals; the disappointing - for more than one Williams can you name? She was from the 1993 session and from different. In 1987 the great Benny Konrad Wiszniewski and the interpretations are the products reason. I think Mel Tormé is the an important part of Andy Kirk's that point it is uphill all the way, Carter was commissioned to versatile Martin Foster are not of the creative thoughts of three greatest male jazz singer of all Clouds of Joy and a driving the audience into a frenzy. compose a suite for the Glasgow over-awed by the presence of masters of their art. time, but both these albums do composer/arranger for such Her command of the crowd is International Jazz Festival which their guest who – to state an him a disservice. Swings Shubert people as Duke Ellington and astonishing. She acknowledges has now been revived, but this unnecessary truth – always plays HUGH LEDIGO Alley is a collection of show Benny Goodman. Yet she still her hits in a gritty medley of At performance by Ken Mathieson’s immaculately. tunes, with Mel backed by a band didn't write many tunes that are Last, Trust in Me and A Sunday Kind orchestra is by way of being a arranged and conducted by hummable or well-known. So an of Love , the last being a standout premiere in its own right. The RON SIMPSON HOT FINGERS pianist . The band album consisting mainly of her in a standout record. original was scored for 18 only includes a dozen musicians compositions may lack melodic musicians; with Alan Barnes CHARLIE WOOD IN GLORIOUS MONO but the arrangements are interest. And that is unfortunately But it is in the bluesy forays, added, Ken had 9 at his disposal, intricate and busy - and so are the case with this tribute to Mary Respect Yourself and W.O.M.A.N , a not that you’d notice with his Lake Records LACD 311: 65.44 some of Mel's vocals. His timing Lou, belatedly commemorating salacious piece of business, that ingenious little big band LUSH LIFE is miraculous and his phrasing is the hundredth anniversary of her she shows her real identity and arrangements. The original suite I’m not sure Spats Langham did jazzy but sometimes he seems birth in 1910. there is no mistaking her lasted 25 minutes; so, too, does Archer Records 338872 43.53 himself any favours by his choice too clever, scatting and repeating remembered pain in her sombre this performance, but with fewer of stage name: it leads to the phrases over and over again. And Virginia Mayhew says she listened version of A Lover is Forever. The repeats and more solos. The five One thing you can say about expectation of silly jaunty 1920s his ingenuity obscures the to more than 200 tracks of backing group which includes her movements cover much of the Charlie Wood is that he is 20 THE JAZZ RAG THE JAZZ RAG 21 ON RECORD REVIEWS

different. Possessing a voice ease if somewhat contained and a Illinois Jacquet somewhere between Mel Torme touch frail. The remainder of this CHUNG YING GARDEN IN BIRMINGHAM and but with none compilation then moves back and Presents Jazz, Blues & Swing every Friday and Saturday of the former’s finesse and the forth across her final years, latter’s tunefulness. including ten tracks made at MATT PALMER'S & THE AR Monterey (complete with low- TIPITINA Y COOL THUR B MILLENNIUM RICK BOYS ROWN He is, apparently, a bit of a cult flying aircraft noises!) in 1958 FRIDAY 9TH LA BOOLA JAZZ BA figure and held a long residency with Gerry Mulligan et al and the EAGLE JAZZ HOO OBER ND VEMBER BAND 26TH OCT SATUR at the King’s Palace on Beale touching trio of numbers she NO SATURD FRIDAY 2 DAY AY 7TH OC Street Memphis which is where sang in London in February 1959 17TH NOVEMB TOBER Fame, who contributes sleeve while appearing on Granada’s ER notes, first heard him twenty Chelsea At Nine TV show with WIL C-J L JOHNS AM years ago. Waldron and Peter Knight’s FRIDAY FRIDAY 2N orchestra, including the iconic 23RD D NOV NOVE The record, I think, is the first in Strange Fruit . Of course, all of this EMBER MBER this country and it will cause represents Billie performing in comment. Personally I find his decline, her capacity weakened as CHINESE voice grating and his style illness and addiction slowed her G wearing. The pattern rarely down and took her energy away. JITTERBU ROY AD changes from number to number The results are often plaintive FORBES SQU as he slides up and down the but never pathetic; the outline of QUARTET WITH THE notes occasionally aiming for a her style still intact even if her SATURD RAMBLERS high one and missing. He prefers vocal presence is much lessened AY 3RD JAZZ accompaniments possible. If I Learnin’ the Blues , which gets THE NO Y 10TH to ignore the quality tunes he has and the sound sometimes croaky. ERS VEMBE SATURDA heard her again, would I be able dangerously close to the end of OOMBUST R selected re-inventing them as he Waldron covers her tracks BR OVEMBER to single her out from dozens of the pier. AY 16TH N goes along. Like Someone in Love is admirably and the audience FRID others? MBER unrecognisable and he could be exults in her song choices, NOVE The leader’s playing throughout in danger of being sued over On perhaps realising they were What the world needs now both dates is impeccable and the Street Where You Live . seeing a great jazz artist is...fewer commonplace singers. illustrates what he took from – RESTAURANT OPEN ALL DAY Route 66 is taken at a speed so approaching her final hurrah. Sad and gave to – other players such LIVE MUSIC FROM 8.30PM fast that he has trouble getting but essential. TELEPHONE: 0121 666 6622 the words out. TONY AUGARDE as Lester Young, EMAIL: [email protected] PETER VACHER and . Indeed, if you CHUNG YING GARDEN CANTONESE RESTAURANT Jacqui Dankworth, his wife, is the ILLINOIS JACQUET only know the honking and 17 THORP STREET, BIRMINGHAM, CHINATOWN, B5 4AT producer of this odd album and squealing Jacquet , try this. You’ll SOPHIE MILMAN be very pleasantly surprised. joins him on one number Alone SWING’S THE THING + Together but that doesn’t improve ILLINOIS JACQUET AND things. IN THE MOONLIGHT SIMON SPILLETT HIS ORCHESTRA He does play a nicely percussive Membran 233541 (61.27) JOE STILGOE piano and, I believe, good organ Essential Jazz Classics EJC 55570 (77.05) although he doesn’t feature that Another day, another female WE LOOK TO THE STARS here. singer. Sophie Milman is new to me but this is actually her fourth Jacquet’s solo on Lionel Charlie Wood is certainly CD. She was born in the Urals Hampton’s Flying Home , and his Absolute NSACD01 (46:14) someone different but sometimes (no, that's not funny), grew up in subsequent concert work with different is not enough. Israel and then settled in Canada. Jazz at the Philharmonic may well Well, at last here's Joe's new Her style might be described as have brought the saxophonist album. This is a more ambitious JOHN MARTIN rather mannered, not always fame and fortune, but they also venture than before, involving a distinct, and slightly sultry. Indeed, succeeded equally in masking his personnel of 23 individuals and there are hints of Marilyn considerable musical subtlety. His utilising Joe's abilities, not only on BILLIE HOLIDAY Monroe in her occasionally best work was arguably done piano and vocals, but also on quavery voice. Yet the problem away from the JATP circus, such keyboards, organ, xylophone, AT THE STRATFORD here is the same as with many as on these two mid-Fifties Verve harmonium and accordion. All but SHAKESPEAREAN FESTIVAL up-and-coming female vocalists: sets, which partner him with two one, it's his own material, and a Sophie is a good enough singer trumpet greats, and sharp intelligence is evident in his Solar 4569920 (75.09) but she has nothing special to Sweets Edison. The first, with the lyrics, which cover lively aspects mark her out from the hundreds urbane Jimmy Jones on piano, of romantic moods. My feelings Billie’s 1957 appearance at the of other young hopefuls. As with does what it says on the tin, with are mixed about words appearing Stratford Shakespearean Festival many modern vocal recordings, a lovely Harlem Nocturne slipped in booklets, but in this case, in Ontario, Canada, took place the best part is the between the grooves. though Joe's delivery is clear and just two years before her accompaniment. The first-class incisive, I find it helpful. untimely death at the age of 44. backing musicians include Chris The second date has some nods Supported by her faithful Potter, Randy Brecker, Julian Lage, to the more populist side of For nine of the eleven tracks, Joe accompanist Mal Waldron on Gil Goldstein, Larry Grenadier Jacquet , as well as some jovial meets the expectation of piano with bassist Ernie and Lewis Nash. There is interplay with the puckish substantial swinging, albeit in Cosachuck and drummer Archie sparkling piano from Kevin Hays, Sweets. The tenorist takes a diverse veins. With his piano Alleyne, she works through short and Gregoire Maret adds his tender turn through Stardust , but pulsation at its root, that engaging versions of six of her regular Toots-like harmonica to a couple elsewhere things are rather singing is encased in his standbys, each taken at medium of tracks. And the arrangements hampered by Gerald Wiggins’ superlative scoring for big band, tempo, sounding reasonably at give Sophie the best organ, the worst offender being string section and choral sounds. 22 THE JAZZ RAG THE JAZZ RAG 23 ON RECORD REVIEWS

The consistent flow of the release usefully collates his two BARNEY KESSEL It was a good idea to choose Ultimately, unless there is form of Live Trio in three sessions whole package is achieved by best known records. Adderley and Kelly as men of some kind, the improvisation will stretching from April 1978 what is now termed THREE CLASSIC ALBUMS undisputed pedigree and, indeed, suffer -and, sadly, the music turns through to January 1980. Each 'programming' - otherwise multi- The earlier 1955 material, made Adderley is the star of the out to be self-indulgent and man fronted the trio in turn and PLUS dubbing. But unlike some with a clutch of fellow Bostonians experiment, playing consistently lacking direction. then they played in tandem, this instances, this is all conceived in a including Herb Pomeroy and brilliantly and exhibiting a high allowing them to demonstrate highly musical way. Above all, Boots Mussilli, mixes ambitious Avid AMSC 1064 (157.20) note capacity which has not been GREG MURPHY their skills and prowess in varied what Joe stamps on his music is writing in a West Coast vein, too evident before. and distinct ways, and happily for enjoyment - the need for having leavened by Chaloff’s no- This two-for-one album presents TEDDI KING present-day listeners their efforts and giving fun. nonsense bopping. Ironically, guitarist Barney Kessel in two The record company spared no were recorded by Swiss Radio despite the finely crafted scores, kinds of settings. Two of the LPs expense and provided Curtis, and belatedly, this is what is on FOUR CLASSIC ALBUMS Every track invites description, it is the two solo features on here are versions of the music additionally, with Paul Chambers offer here. It would be hard to but for review brevity, I will What’s New and Body and Soul from a film and an opera, while and on basses and PLUS recall any performances on specify three that I like a lot. The that most impress, with Chaloff’s the other two (with one track Oliver Jackson and Belton Evans record from either Wheeler or Chestnut Tree has a great feel, breathy delivery reaching omitted) feature Barney with the on drums. The performances lope Avid ASMC 1059 (159.18) Skidmore that are superior to richly-voiced strings, and Websterian levels of ‘Poll Winners’ - alias Ray Brown along pleasantly, if a little uneasily, these. The trumpeter is in somehow has the aura of a show expressiveness. and . Kessel and and Curtis is no slouch on tenor The four ‘classics’ in this case are imperious form on his A Simple song, reminding me that in Jazz friends make a good job of playing with more fire than soul Bidin’ My Time, To You, A Girl and Toon , his lovely sound at its best, Rag 120 he said he'd love to Blue Serge is another matter presenting the music from my but inoffensive overall. He is Her Songs and All This King’s Songs , the playing as vibrant and centred write a stage musical. The two altogether, the ultimate Chaloff favourite film, Some Like It Hot. happier on the slower, blues with the ‘plus’ being four tracks as you could wish, the lines slows, with his voice suitably recital and a sort of blue print for Runnin' Wild is particularly good, numbers. lifted from Miss Teddi King , and crackling and bright, bassist Peter subdued, are full of atmosphere, the records he could have made with fierce solos from Barney, Michael Garrick throughout King benefits from Frei and drummer Pierre Favre especially his closing take on Ray more of had he lived longer. The saxist Art Pepper and trumpeter There is very little ensemble the finest of support for her alert and supportive. Wheeler’s Davies' Waterloo Sunset . On first first class rhythm team of Sonny Joe Gordon. Kessel brings out playing and Adderley and Kelly, as featuring his highly-talented son In these circumstances, one's rather mannered style. version of Duke’s Come Sunday is listen, the overall CD is quite Clark, Leroy Vinnegar and Philly the poignancy in I'm Thru with expected, make valuable Chris, all propelled expertly by attention focuses on the splendid quite sublime, an opening flurry stunning, but one is impelled to Joe Jones couldn’t be bettered Love , accompanied simply by contributions, adapting to the his Quintet - Steve Waterman on backings provided by a quintet Al Cohn’s intelligent scoring (and of drums followed by the hear it all through again, and and shadow the leader through a string bass. But it is rather circumstances. All in all it is an trumpet, Martin Hathaway on which includes Clark Terry, trenchant improvising) is offset trumpeter’s unexpected ‘free’ perchance to dance. programme ranging from disconcerting when Barney tries unassuming little outing, but it is alto and soprano, Paul Moylan on Seldon Powell and Tommy by George Siravo’s sentimental initial improvisation, before he boppers’ anthems ( All The Things to jazz up Bizet's Carmen . Tunes just as well that Curtis went back bass, Dan Farrant on drums, and, Flanagan. Terry's unique trumpet string arranging and Johnny settles down to play a lovely LES TOMKINS You Are , The Goof and I ) to lyrical like the Toreador's Song and the to his day job. of course, his own always- (flugelhorn?) adds fascinating Richards brash horn writing, but, version of this time-honoured balladry. The highspot is the Habanera simply don't adapt well underlying powerful piano. punctuations to the vocals, while from a jazz standpoint, the best theme, Klaus Koenig’s piano of Seldon Powell plays some fine tracks are those with the SERGE CHALOFF genuinely affecting reading of to jazz. I'm afraid it all reminds JOHN MARTIN equal beauty, this matched when Thanks For The Memory – an me of Spike Jones's version of There is a wealth of effective jazz solos on flute as well as tenor simpatico accompaniment of Skidmore gets his turn, the soloing, whether rhapsodic or sax. Seldon's value is underlined unlikely choice which Carmen . MICHAEL GARRICK Ruby Braff, Jimmy Jones, Milt resident trio as able in the later BLUE SERGE + BOSTON nevertheless sounds just right. swinging, and I recommend the by the inclusion of three bonus Hinton and Jo Jones, which give passages of ‘out’ playing as on BLOW UP But then the whole album is Much better are the discs by the album to devotees of this tracks which he recorded with a King more room to make an Skidmore’s more controlled BOVINGDON POPPIES perfect, the equivalent of Art Poll Winners, so called because stimulating idiom. rhythm section in 1961. impression. ballad work. This music may date Essential Jazz Classics EJC Pepper Meets The Rhythm Section Kessel, Brown and Manne won all back more than thirty years but 55569 (79.37) or Getz’ The Steamer as a three of the major American jazz Garrick Archive GAMG 1 LES TOMKINS TONY AUGARDE Whilst the repertoire drawn it has retained a level of intensity definitive example of mid-1950’s polls in 1956. They work (48:40) from the Great American and creative energy that is Proper gave Chaloff the big box saxophone-led jazz. seamlessly together and their NORMAN MAPP TROYKA Songbook is also first class, these completely compelling, this much treatment last year, but this interplay is a joy to hear. With In September 1993 I received a records are bound to suffer in aided by their inventive Swiss comparison to contemporary SIMON SPILLETT Ray Brown and Shelly Manne letter from a friend, Stuart JAZZ AIN'T NOTHIN' BUT accompanists. Fordyce, a classical singer who MOXXY efforts by Julie London and Peggy being such strong soloists, Barney SOUL Kessel doesn't have to do all the lived in Bovingdon, Herts. He was Lee, who did all this and sounded PETER VACHER advising me that he was taking Edition EDN1033 (45:12) far more convincing. work. Another must-have bargain Fresh Sound FSR-CD 693 from the Avid label. part in a work by Michael Garrick. Attending it reunited me (56.49) Troyka are a trio made up of The playing time is full to the EDDIE ‘LOCKJAW’ brim and the remastering can’t TONY AUGARDE with Mike after a lapse of years. It Chris Montague (Guitars, loops) DAVIS & JOHNNY is a great pity he did not live to Norman Mapp isn't exactly a Kit Downes (Hammond Organ, be faulted, but for the first time GRIFFIN see its long-overdue release. household name, although piano and Fender Rhodes) and when reviewing an Avid double KING CURTIS Joshua Blackmore (drums). The CD I’ve come to the conclusion various friends called him such GRIFF AND LOCK QUINTET Bovingdon Poppies is a prime things as ‘the warmest human band members have individually that it is possible to have too example of Mike's flair for choral being who ever lived’. He lived composed the material but it’s much of a good thing. However, Fresh Sound FSR-CD 690 FEATURING NAT jazz. It came about after he from 1928 to 1988 and was skeletal and lacking in depth, taken one sip at a time, this is serving only to serve as a loose pleasing stuff. (118.34) ADDERLEY AND WYNTON received a poem from a lady who apparently known as much for his had heard his music on BBC songwriting as for his singing. This base for collective improvisation. KELLY radio. The subject is the creation reissue of his 1961 album shows The front line of guitar and SIMON SPILLETT When two tenor-players get in 1943 of Bovingdon Airfield and that he had a warm voice with keyboards along with together, you can usually expect a Fresh Sounds Records its significance in World War 2. touches of Joe Williams about Blackmore’s impressive KENNY WHEELER / tenor battle: competitively FSR CD 714: 79.42 The words, variously poignant him. Norman wrote most of the drumming sets a heavy pace swapping fours or eights. and triumphant, are sung by songs himself but I can't say they which after several titles However, Eddie ‘Lockjaw’ Davis This CD is a composite of two Fordyce's baritone as The English strike me as very clever or becomes quite repetitive. There and Johnny Griffin seem to have a LPs released in 1960 when King Aviator and Harrison Sykes's profound. They are the sort of are better moments – Rest is SWISS RADIO DAYS: JAZZ more co-operative approach, Curtis wished to try out as a jazz tenor as The American Pilot. songs where you can predict quite gentle with some fine guitar LIVE TRIO with each tenorist stretching out player. These albums were The Alternating and weaving around what rhyming word is coming up work from Montague, but it separately for their solos. New Scene of King Curtis and Soul them is a tremendous panoply of to complete unimaginative lyrics, follows much of the companion TCB 02282 (65.27) Lockjaw described it as ‘a Meeting and they failed to Garrick sound, incorporating a full of clichés like ‘Who cares if titles by becoming rather self- contrast, not a contest’. Davis establish the R and B King as a Chamber Choir, a Choral Society it's stormy weather, As long as indulgent and not really achieving Two of Britain’s finest generally goes first, with his buzzy Serge Chaloff serious contender in the jazz and Scott Stroman's Eclectic we're together?’ And most of his very much, before quietly contemporary soloists appeared tone, running notes into one field. Voices, with a dozen strings melodies are forgettable. disappearing. in Zurich with the brilliant Jazz another. Griffin follows with a 24 THE JAZZ RAG THE JAZZ RAG 25 ON RECORD REVIEWS

more melodic style. There are on trombone and CATALONIA! CATALONIA! MM. On one called Hey, Madame , 1961 and ’62 when the tenorist space for his soloists and they, Granz organised a Jazz at the also some excellent piano solos Laymon Jackson on tuba making drummer Osie Johnson reveals a was recording for the Vanguard too, have absorbed the Coltrane Philharmonic concert tour from , whose feeling for an interesting sound. (What makes your CDs so odd?) lively singing identity that should label. Coltrane is such an icon, ethos. Altoists Fiete Felsch and thoughout Europe. This featured for the blues comes through have been utilised more. some might say a deity, that to Peter Bolte and tenorist Lutz the Oscar Peterson Trio, Miles clearly. Four albums charting the The Barcelona-based labels (Fresh Sound and suchlike) are a presume to arrange, or even use, Buchner are remarkable and Davis Quintet and the Stan Getz progress of an unsung hero of constant source of mystery to me. For a start, I’ve never been able LES TOMKINS his music in a big band context trumpeter Ingolf Buckardt is Quartet. On 8th April 1960 these Most tunes are up-tempo, and jazz. to find out whether they are all one company or semi-independent could amount to presumption or astonishing. This must now be the groups gave a concert in Zurich. affiliates, but the greatest puzzle is why labels which put out so swing is the usual goal (which is GEORGE GRUNTZ even sacrilege. most progressive band in Europe. Possibly the only recording of readily achieved). This double CD ALAN MUSSON many intelligently and creatively assembled reissue packages are Coltrane addicts who might Getz with this line up, he had contains three studio LPs also responsible for totally crass reissues at times. I’ve already WITH NDR BIG Coltrane fans who might approach this with caution will go been living in Copenhagen and drawn attention to two labels reissuing the same album recorded in 1960 and 1961. The PATTI BOWN BAND approach this album with away raving. was intending to play with locally third is a tribute to Thelonious simultaneously, though with different bonus tracks and packaging. trepidation or annoyance can based musicians. However, he Monk called Lookin' at Monk . Now what about this? fired both the bassist and DIG MY TRANE rest easy. This is a respectful, JOHN MARTIN Johnny Griffin played with PLAYS BIG PIANO ingenious and expansive drummer and reached an In 1953 one of the most famous of jazz concerts took place in Thelonious in 1958 but Monk's reworking of Coltrane’s music STAN GETZ QUARTET agreement with Oscar Peterson dislocated compositions seem to Fresh Sound Records FSR 1659 Massey Hall, Toronto, with an all-star group billed as The Quintet of TOB 31102:61.06 that gives it another dimension. In to use Ray Brown and Ed Thigpen suit this group less well than the (37:21) the Year, with Charlie Parker operating under the alias ‘Charlie particular Gruntz and the superb along with the Swedish pianist Jan free-blowing items on the other Chan’ for contractual reasons. Now Essential Jazz Classics and Swiss pianist/arranger Gruntz has NDR band have captured SWISS RADIO DAYS Johansson. two LPs. The exceptions are Whereas Thelonious Monk’s Phoenix Records, both of the Barcelona group, have simultaneously been attracting a great deal of Coltrane’s unique ‘Sheets of 'Round Midnight and Ruby My style was, in part, shaped by a reissued Jazz at Massey Hall under the name ‘Charlie Parker’, attention through his original and Sound’ in a larger and fuller Jazz Series Vol.29 TCB 02292 The recording features a couple Dear , two ballads where the somewhat restricted technique, though one reproduces the original sleeve, with ‘Charlie Chan’ on challenging compositions and context. The opening track, of great ballads along with some playing of Griff and Lock one feels that Ms Bown has alto. And it gets worse. That booklet cover is the only difference arrangements for his Concert Impressions , gives an indication of Taking Care of Business (TCB) is faster numbers and all of the respectively exhibits pensive plenty in reserve. It is only her between the two releases. Both have the same Jazz Band, an assembly of the what is to come; a mighty a record company based in familiar Getz hallmarks; concentration. I'm not sure why chosen approach to the business track as bonus; the back insert is identical, except for label details cream of European Jazz crashing sound, intensely exciting. Montreux. They have been issuing beautifully fluid lines, heart-felt the sleeve-notes refer to the of playing jazz which imposes and a reference to the booklet as containing 16 (EJC) or 12 musicians.He has previously lent high quality Jazz recordings since and vibrant. Along with the pianist as ‘Junior Malice’! limitations on the technical (Phoenix) pages; the booklet (16 pages including cover) is word-for- his considerable skills to Indeed, excitement is Gruntz’s 1988 covering bebop and straight familiar Spring Can Really Hang You word, photo-for-photo, page-for-page the same. What is it all about? resources of a highly-trained providing his slant on the goal and forte and he pursues it ahead jazz, swing and world Up The Most there is the more TONY AUGARDE pianist. Bown’s approach is repertoires of Duke Ellington, throughout this session although music. They are also produce the rarely heard up tempo number By the way, this expose of the bizarre marketing practices of forthright and punchy, much Thelonius Monk and Charles there are several engaging Swiss Radio Days Jazz Series, Pernod by Johnny Mandel. Best of Catalonia should not deter purchasers: Massey Hall was a seminal more blues and gospel orientated Mingus, the compositions of the melodic pieces and his treatment previously unreleased live all however is I Remember Clifford. event in the history of bebop, with Parker, Mingus, Dizzy Gillespie, than Monk, but there is a shared last two being particularly of the elegiac Naima Mysterious is concert events recorded by and Max Roach a real ‘Quintet of the Year’ – but don’t affinity in the quirky phrasing and demanding. a work of serious achievement in Swiss Radio covering some of the A very worthwhile addition to FOUR CLASSIC ALBUMS buy both reissues! audacious liberties with time that any musical genre. legendary names in jazz. the vast Getz discography. were part of a decade when Here he tackles ’s Avid Jazz AMSC 1062 RON SIMPSON experimentation and individuality work, specifically the years of As always Gruntz finds plenty of In 1960, Jazz promoter Norman ALAN MUSSON The Four Classic Albums are were the name of the game. That's Nat , Introducing Nat Of ten tracks, four are by Bown sections, and the solos by Al and Adderley , To The Ivy League and MARILYN MOORE herself. Not without merit but a favourite trumpet player, Joe Much Brass and cover the period heavily based in the blues figures Wilder. from 1955 to 1959. Adderley MOODY AND OH, and gospel cadences which have began to study trumpet in 1945 CAPTAIN! become clichés but were but switched to cornet in 1951 The other nine tracks are a very probably quite fresh in 1959. because he felt that he had more different story. Livingston and Waltz de Funk is, I think, the most Fresh Sound FSR-CD 711 facility than on trumpet. That's Evans wrote a batch of successful satisfying of these originals with (78:10) Nat is a good recording. But for Broadway musicals, but Oh, its almost Chopinesque opening me it is of interest because of a Captain! must be their least- theme. One more set of two 'fifties LPs, comparatively rare appearance in known. Its score is given a jazz and this is like two reviews in makeover by an assortment of a small group setting by Jerome one for me. The first twelve Of the remaining selections, I’m luminaries in three groupings. Richardson on tenor sax and tracks are my initial hearing of Gonna Wash That Man Right Out and Harry flute. I particularly enjoyed I Marilyn Moore. Usually when Of My Hair and Sunshine Cake Edison are happily in conjunction Married An Angel . singers are said to have been depart from the usual standard thrice. Dick Hyman's piano influenced by Billie Holiday, they repertoire, the latter boasting a mastery is in evidence Introducing turns the heat up turn out to have ample personas simple but cleverly conceived throughout, teamed impeccably somewhat with a quintet of their own. Ms Moore, theme statement in the form of a with either the Pettiford or featuring Nat's brother, Julian however, very audibly, was a canon, left hand following right Hinton bass. Tony Scott proves to ‘Cannonball’ Adderley on alto complete Billie clone. Since she two bars apart. be as adept on tenor and sax, on piano and was married to Al Cohn, who is a Paul Chambers on bass. featured member of her six-piece baritone as his customary The remaining time-honoured backing group, you'd have thought clarinet. standards reveal Patti Bown at For me, things really start to get he might have advised her her most Monkish and yet her exciting on To The Ivy League otherwise. When she sings a song Vocals are inserted sparingly - essential bluesiness saves them which also features Cannonball that Billie recorded, such as I often one midway chorus, as in from mere imitation. but with a different rhythm Cried For You , it is an absolute olden dance band days. On a section including Junior Mance on carbon copy. Though I applauded couple of her four instances, Listening to this CD again, I catch piano. The band always swinging. the invaluable Holiday Marilyn sounds rather less a whiff of the heady excitement All of the music recorded for this contribution to jazz phrasing, I Billieish - dare I say a little bit session is first rate but standout we enjoyed in the burgeoning, must admit that, sacrilegiously, I Peyroux-like? But the highspots tracks include Number 251 and non-conformist ’fifties. did not care overly for the sound are being reminded of the The Fat Man . of her voice. So my enjoyment infinitely more individual Jackie HUGH LEDIGO here centres on the band Paris on his two appealing songs. Much Brass is a sextet including He also does a nice duet with 26 THE JAZZ RAG THE JAZZ RAG 27 ON RECORD REVIEWS

Liz Fletcher LIZ FLETCHER Daisy Palmer (drums). All titles Ray Skjelbred on piano is trumpeter Ralph Alessi, pianist musicians contribute equally. The adopts a subtle approach with were composed by Figes (except slightly less successful. His Geri Allen and several others short-lived Richie Powell comes pianist Cawley taking centre LIZ track two by Peter Ham) and model is clearly Jess Stacy, but adding to the mix. Coltrane is close to his brother Bud in his stage, showing great thought and Figes’ baritone work recalls Leo a lack of fluency makes for impressive on tenor, less so on quote-filled solos, his arranging, technique to interpret the Parker with its bustling, soprano, a notoriously difficult and his four attractive compositions, but the music all audioLoob ALCD001 (58:14) slightly stilted phrasing at uncompromising approach – this instrument to conquer. Coltrane compositions on CD3. One of too often raises ghosts, seeming is particularly pronounced on the times and I feel he overdoes had a hand in composing most of the rare slow themes is his to lack direction in a self- Liz Fletcher is the epitome of opening title Evel Minx where the the tremolo effect. Bassist the material, some of which exquisite Time . George Morrow indulgent manner. To sum up, present-day clued-up lady jazz group combines to be as Clint Baker’s approach dates shows he is still seeking his own was one of the giants of the bass. where’s the excitement? singers. She has a flexible voice, uncompromising as possible, with back to the very early days vision As for the great Max Roach, writes some of her songs, and is heavy rhythmic emphasis. There complete with string slapping naturally his drumming skills are GREG MURPHY able to function productively are gentler moments, particularly GREG MURPHY employed to the maximum, with amid first-rate musicians. Her and even playing with the on Still , but on this title where bow. There is also a rhythm showcases such as on Stompin’ At COUNT BASIE AND delivery is stylish, but these 12 The Savoy strikingly displaying the Fidges uses alto sax, but once the guitarist who, strangely, gets CLIFFORD BROWN / tracks pose the question of gentle theme is dispensed, there melodic ability he had. HIS ORCHESTRA no mention. whether you can have too much seems to be little else to explore MAX ROACH style. Early on, four originals in a and the piece is inconclusive. On QUINTET LES TOMKINS PLAY THE MUSIC OF row are varied, with cute lyrics, The Bear the muscular approach Best of all are Rebecca BENNY CARTER and give good space to Andy returns with Outram really Kilgore’s contributions. Her COMPLETE STUDIO Panayi on tenor and flute, Martin TOM BANCROFT: turning up the distortion. voice has an attractive light RECORDINGS Fresh Sound Records FSR-CD Shaw on trumpet and Gunther timbre, her phrasing is always TRIO RED 713 (72:10) Kuermayer on piano. My All four musicians are more than preference is for Why? , which spot on, as is her pitching. And Essential Jazz Classics capable, but the problem seems FIRST HELLO TO LAST Benny Carter is one of the most grooves nicely and has the she has no irritating EJC55560 4-CD box set (76:43) to be in the compositions, which GOODBYE remarkable musicians in jazz neatest wordage. mannerisms. She draws on a (78:18) (78:20) (74:12) lack any depth or architecture, history. A highly gifted multi- wide repertoire ranging from meaning there’s not much to Interrupto IM003 (66:09) instrumentalist, he worked with For a group that existed no more I'm not sure whether it quite improvise on apart from chord standards like What Can I Say almost any name you can think of than two years, the Brown/Roach works to have her sing Willow patterns. The Grind which closes After I Say I’m Sorry to typical Tom Bancroft is a fine drummer and his writing gigs extended Quintet made a positive mark on Weep For Me while the band plays the disc seems to display this pops of the era such as Mutiny who has appeared on record from Henry Hall in London to jazz. These four CDs constitute Things Ain't What They Used To Be more than most, with the In The Parlour . before, notably on the Caber film scores in Hollywood. chronologically everything put underneath, but it's a bright idea. resulting music living up to the label run by Tom and his brother, Arguably the Basie band was at down in the studio for 20 What is less to my liking on this title. I don’t mean to be harsh, Phil. Trio Red features Bancroft its peak on these 1960/61 Pleasant, unostentatious and months of that time (August and the following Early Autumn is but I have to write it as I hear it. with pianist Tom Cawley and recordings. It set the benchmark totally convincing. 1954 - March 1956), including all that thing of suddenly going up bassist Per Zanussi, on a range of for big-band swing and into a high pitch, then down alternate or partial takes. The GREG MURPHY compositions by Bancroft, with performance standards. CARMEN MCRAE singer but could often project a again, which seems to detract HUGH LEDIGO copious notes reveal, with a much deeper sensitivity when an opening mix of Ornette from easy continuity. photo to illustrate, that the last Coleman’s Lonely Woman and Kansas City Suite is a set of ten THE COMPLETE RALPH she was presented with the HAL SMITH’S ROAD live date played by the five-piece appropriate material. RAVI COLTRANE Joan Armatrading’s Opportunity . pieces loosely connected, at least BURNS SESSIONS It is the next two tracks that RUNNERS in June 1956, shortly before the The closing title is an affectionate by titles, to that historic jazz city. bring about my thoughts re over- tragic car accident that took FEATURING With Ralph Burns in charge of FEATURING REBECCA SPIRIT FICTION remembrance of singer and Vine Street Rumble, Miss Missouri, styling. The mannered, Latinised Brownie and pianist Richie writer Tim Buckley (Last Goodbye) Rompin’ At The Reno have clear the arrangements this should treatment of The End Of A Love KILGORE Powell, was at the Continental Phoenix Records 13553: 75.33 have been a landmark album but Blue Note 509999 18937 2 7 which has a lyrical feel despite connotations but such titles as Affair completely removes the Restaurant, Norfolk. the absence of lyrics. Katy-Do (referring to Basie’s wife Burns’ scoring is minimal. He is meaningfulness this song is meant (57:30) Like fine wine Carmen McRae WAITING AT THE END OF who danced there) and the quoted as saying he wanted to to have. Then, by contrast, on This collection provides a took time to mature. Towards the THE ROAD Bancroft is a drummer of power Wiggle Walk are probably leave more space for the singer. Abbey Lincoln's philosophical Although only two years old number of clear revelations. end of her life she was displaying and imagination but here he stretching things a bit. The point Webster’s presence, too, should ballad, Not To Worry , Liz employs when his legendary father John Above all, the growing jazz an artistry which put her in the Triangle Jazz T-123CD (71:13) have ensured a considerable and no 'tricks', and her voice sounds died, Ravi Coltrane has a burden eloquence of Clifford Brown's class of Ella, Sarah and Billie. She empathetic contribution, but his better, warmer, more sincere. It's of expectation to shoulder, which trumpet playing, into his mid- claimed that Billie was her ballad flair is largely restricted to also good to hear her with just The liner notes are dated may explain why he has occupied twenties. Through two CDs and inspiration yet it is hard to detect the odd solo. the rhythm section, especially 2001, so I presume the a sideman’s role for most of his part of the third, he pours out that influence on her style even when, apart from Gunther, recording date must be career. There have been dates as flowing, eventful lines alongside here in these performances from So, having made these there's Geoff Gascoyne on bass around the same time, but it leader, notably for RCA and the consistently pleasurable her early years. reservations, is there anything to and Sebastiaan de Krom on could as easily have been late Savoy, and some of the musicians tenor of Harold Land. From then be enjoyed from this album? Yes, drums. Two more straight-ahead heard previously (including on, we hear the results of his final What we have here are 24 tracks there is a great deal to savour ‘thirties or early ‘forties. All gems take us to the album's drummer E.J.Strickland) are six months, when he was newly from 1955, one year after especially with quality ballads like the music dates from then or climax, her fully-swinging Bring It present on this new Blue Note partnered by the up-and-coming Downbeat magazine voted her I’m A Dreamer, Speak Low, Skylark earlier, and if the musicians On . ‘Let magic take me over’, Liz issue. Sonny Rollins, whose approach is ‘Singer of the Year’. At this time I and Yesterdays included. It is aren’t ninety years old - which sings. It does. more voluble and off-beat. Their would say she was more of a pleasing, also, to hear the verse they’re not - then they have Tenor saxophone seems to be empathy develops steadily, and by technical singer and she gives a on But Beautiful , almost always LES TOMKINS steeped themselves in their Ravi’s strongest suit- there are the time, in February '56, we get musically faultless rendition of all excluded by singers. chosen period very sounds of Joe Henderson and to a Tadd Dameron twist on these songs. She also brought an convincingly. even Dexter Gordon to be What Is This Thing Called Love? , experience and an awareness of Outstanding track, by far, is her 4SIDED TRIANGLE detected in places. The personnel Brownie has moved from the new musical revolution, exquisite rendering of Star Eyes , a Leader Hal Smith has a fluid, varies track by track, but a core sprightly to total brilliance and bebop, having paid her dues at song on which she gives a reading Pig Records PIG02 (68:18) band of Louis Perdano (piano), Sonny is at his outgoing best. subtle drum style strongly Minton’s Club, the home of the of such luminosity that I would Drew Gress (bass) and drummer Their togetherness reaches its new music where she often sat in gladly pay the price of the album 4Sided Triangle features Kevin reminiscent of George E. J. Strickland is present on the peak with the 3/4 fun of Sonny's on piano. for this one track alone. Figes (baritone and alto sax), Wettling, and Bobby Gordon’s majority of titles. They are lilting Valse Hot. Mike Outram (guitar), Dan clarinet work might well be a augmented on certain titles by She was never a sentimental JOHN MARTIN Moore (Fender Rhodes) and reincarnated . tenor saxophonist Joe Lovano, Rhythmically, the other three Ravi Coltrane 28 THE JAZZ RAG THE JAZZ RAG 29 ON RECORD / LIVE / IN PRINT REVIEWS

is: Carter succeeds in fusing his but nothing repetitive about Pee understandable explanation for find prose hamstrung between own compositional character Wee’s fluent and seemingly this), and there are hardly any sleeve note regurgitation and with the identifiable Basie sound unstoppable tenor solos. Mark contributions – contemporary or rather mock expertise. and the result is electrifying. The Mondesir, Lawrence Cottle and retrospective – from the precision, dynamics, tone colours Tony Remy all excelled as Pee saxophonist’s fellow players. The However, there are moments of and above all swing, make these Wee moved steadily into James writing style is also repetitive in triumph. Chapter 21 is a gem and recordings quite exceptional. Brown territory, eventually the extreme; on page 39 we are Ansell is spot-on about the music Apparently Basie thought so too. encoring, half an hour after told ‘Blakey was the best band made during McLean’s purple official end-of-concert time, with leader [McLean] ever worked patch (page 144). He also displays In The Legend , Carter has, to my I Feel Good , with a no-longer staid with’ and on page 41 that ‘Blakey an admirable lack of ears, submerged his own identity audience joining Pee Wee in the was, in McLean’s opinion, the best obsequiousness when looking at to produce eight tracks of pure vocals! And, to keep up the good band leader he ever worked the New and Old Gospel album Basie. The interplay of brass and feeling, the organ trio which had with’. Blue Note’s recording made with Ornette Coleman. reeds, the Count’s piano played before the start, was still activity is described as ‘feverish’ There are similarly interesting interjections, the dynamics - and doing its stuff in the foyer as we three times in two pages and just observations about McLean’s again that unique swing - are headed into the storm and how many times do we need to methods as an educator, some incomparable. thought of the actors in the be told that McLean’s fascinating insights into Charles Mysteries! composition Quadrangle didn’t fit Mingus’ modus operandi and a If I could own only one Basie the chords of I Got Rhythm ? genuine practical understanding recording, this would be it. RON SIMPSON of how jazz musicians utilize Though this may represent my teaching as a necessary financial HUGH LEDIGO SUGAR FREE own personal bête noire , I find crutch. SAXOPHONE: THE that jazz biographies cannot be PEE WEE ELLIS JAZZ held together by strings of Sugar Free Saxophone is therefore LIFE AND MUSIC OF adjectives. The attempt to a qualified success. Part missed FUNK ASSEMBLY JACKIE MCLEAN describe the genesis of individual opportunity (McLean himself jazz saxophone voices in Chapter didn’t live long enough to THEATRE ROYAL, YORK, Derek Ansell 24, to pick a single instance, falls complete his autobiography), part AUGUST 24TH Northway Books, hardback, flat owing to a lack of technical enthusiastic fan’s obeisance, it 9780955788864, £18.00 explanation and when, in one probably required some York’s Theatre Royal deserves passage, the author writes ‘the streamlining and a more judicious credit for an enterprising across- edit before reaching the public. Derek Ansell has written a good piece is modal although the the-arts policy of supporting the deal about jazz over the years, bridge enters a different modal theatre’s massive production of regularly contributing articles and area with stop-time rhythm’ we RICHARD HYLA the medieval Mystery Plays in the interviews to various jazz Museum Gardens with a festival magazines and authoring an Pee Wee Ellis of soul, jazz and gospel in the earlier study for Northway, Theatre itself. So it was that, Workout – The Music of Hank whilst the actors worked their Mobley (2008), so it’s somewhat way soggily through the Bible on surprising to find this new book a wet August evening, a so disappointing. The biggest respectably-sized crowd enjoyed frustration is that it’s full of a sunny and audience-friendly tantalising tit-bits of information session with ex-James Brown about McLean’s life, which aren’t saxophonist Pee Wee Ellis and an explored in any great detail. For outstanding British quartet – example, when the saxophonist ‘Nice band’, murmured Pee Wee loses his cabaret card we never once or twice, telling no more find out exactly how and why. than the truth. The first half Likewise his incarceration – remained firmly in jazz-and- clearly a turning point – is ballads territory, with incisive quickly glossed over. More straightahead tenor sax on fascinatingly, during the late 60s ’s Del Sasser McLean worked in tandem with followed immediately by Pee Wee the Black Panthers - an amazing sliding gently into You’ve Changed , and possibly singular verse and all. I am not sure how accomplishment for a white frequently this band plays musician - but we read nothing together (three nights at Ronnie about the reaction to this from Scott’s the next week, certainly), any of his colleagues and but all were impressively contemporaries. In fact, we don’t responsive to each other, with even discover the cause of Gareth Williams a superb blend McLean’s death. of ears, technique and imagination. The much longer The principal drawback is that second half was much funkier, Ansell relies too heavily on his though I tend to agree with the own analysis of events rather critic who opined that Pee Wee than on the opinions or voices of finds the jazz in funk and the funk those involved. McLean himself is in jazz – it’s all pretty seamless. quoted with alarming brevity, as is More repetitive numbers, maybe, his wife (although Ansell offers an Photo by Merlin Daleman 30 THE JAZZ RAG THE JAZZ RAG 31 BEGINNING TO CD LIGHT BEGINNING TO CD LIGHT

realise what I’ve been missing. own way musically and on RON SIMPSON’S ROUND-UP OF RECENT CDS Smooth Sailing returns as one of returning to the States went his four bonus tracks recorded in own way physically. In four long n the 1950s it was prime time angle, pushing too hard and who love the evidence of a life heard on three albums of Europe with a small jazz group numbers Miles’ concise control is for jazz musicians on the West relying heavily on flaring brass. lived on the edge. I tend to a unpretentious excellence from featuring Kenny Dorham and in stark contrast to Trane’s ICoast who were high-class The sense that it’s a Frank middle view, though inclining to around the time he left: THE Barney Wilen – and that’s when ‘sheets of sound’, relentlessly fast section players and/or had the Sinatra session is added to by the the latter. Billie is superbly COMPLETE SWINGVILLE things become really interesting! articulation, leading to a tension ability to register a distinctive delicious asides of (again) Mr. expressive (it’s not just the SESSIONS (Fresh Sound FSR I’m not sure how well that may not be always creative, solo style in a few bars: recording Edison. Fancy Meeting You Here presence of lines such as ‘We CD 672: 2 CDs, 109.01). From remembered Milt Buckner is but makes for an exciting session, gigs abounded on jazz, jazzish and with old chum Rosemary both have a lifetime before us’ the opening track, the Basie some 35 years after his death, but with Jimmy Cobb’s aggressive not-really-jazz-at-all sessions with Clooney is an entertaining that makes We’ll be together again classic Taps Miller , Newman is he was a pioneer of the electric drumming adding to the conflict! brilliant orchestras playing world tour, with smart new lyrics so moving ), the voice is often completely at ease with his organ and at one time a very (sometimes) brilliant by the likes of Ira Gershwin and surprisingly buoyant, but the fellow-‘midget’ . The prolific and popular recording There’s nothing to say about arrangements. HOAGY SINGS never-predictable arrangements times when the notes just aren’t second album, with the other artist. I find it impossible not to Essential Jazz Classics’ Louis CARMICHAEL (Phoenix bursting with tuned percussion there do jar. Through the 1950s Frank, Foster, is a little edgier, less enjoy Milt’s playing, full of his Armstrong collection, Records 131549: 64.25) was one by master-prankster . A and 1960s Coleman Hawkins , Basie-influenced (despite Li’l ebullient personality, but it’s not COMPLETE HOT FIVE AND of the good gigs and Harry single bonus track, Mack the Knife his powers undimmed, seemed Darlin’ ) with Foster at his the most profound jazz around. HOT SEVEN (EJC 55563: Edison and Art Pepper in with Bob Scobey’s Frisco Band, sometimes unsure how far he powerful best on the original Mo- Solar Records have issued two 4CDs, 310.22), except that it’s particular took full advantage! finds Bing totally in his element should run with the new Lasses . Finally, Newman, always a CDs, each consisting of two magnificent in every way, Johnny Mandel directs an 11- and Scobey sounding like a mini- generation and THE HAWK versatile swinging and subtle Buckner albums from 1957 to including documentation. You can piece in updated arrangements Armstrong. Sweets Edison also RELAXES (Essential Jazz player, reverts to quartet mode 1961, with a few extra bonus take your pick of the for Hoagy who occasionally tries shows up as part of a terrific Classics EJC 55530: 79.08) and reveals a taste for standards. tracks. MIGHTY masterpieces on offer, from the too hard to be 1950s, but sextet accompanying Billie presents one way out of his Throughout the three sessions HIGH/MIDNIGHT MOOD original Hot Five of 1925 (the generally exudes that inimitable Holiday in her last studio dilemma: timeless performances the impeccable pianist is Tommy (4569916: 74.42) benefits from revelatory cornet introduction to Kenny Burrell on the first named; Cornet Chop Suey or the folksy charm. The selection tends recordings in 1956-57: THE of seven classic ballads, glorious Flanagan. towards the poetic and wistful, BEN WEBSTER/HARRY treatments of the likes of More PLEASE MR ORGAN supposedly accidental scatting on MAN/SEND ME SOFTLY Heebie Jeebies ) through the with less familiar numbers such EDISON SESSIONS (Phoenix than You Know , with fine support Of the less famous musicians (4569921: 77.51) has, on the first addition of tuba and drums for as Winter Moon and several Records 131554: 2 CDs, 153.58), from Kenny Burrell among whose 50-year-old albums are album, probably the strongest the dynamic Potato Head Blues on missing classics (e.g. One Morning originally three LPs, with Jimmy others. I guess you can’t do ballad getting a hearing, Joyce Collins selection of songs: Gee Baby Ain’t I to the already developing in May ). The bonus album is a Rowles, Barney Kessel and a albums all the time and the bonus had a solid career as a pianist, Good to You and Blue Prelude are sophistication of the 1928 band more romping affair, The Stardust mixture of bassists and album, Soul , is a less satisfactory with plenty of work in television, made for Buckner and there is a which produced the mighty West Road , an early compilation, drummers (Newport 1957 affair. Nobly EJC includes a but her first album, GIRL HERE damning review by Charles Fox delicious version of Sermonette . End Blues and the astonishing as big a loss to jazz as Bix’s. But RW 144 CD: 61.24) involves including Hoagy’s own 1942 trio provides the bonus tracks.) It’s PLAYS MEAN PIANO (Fresh (‘rowdy...as fuzzy as a kazoo’) and Most of the time he is operating duet of Weather Bird with Earl every time I feel sorry for Frank musicians from three countries, versions of The Old Music Master good to hear Sweets given the Sound FSR CD 712: 50.44), was it’s better than that, but Hawkins’ with a quintet, including alto sax, Hines. Or you can wait to the Trumbauer, brilliant technician identifiable from the group name. and Hong Kong Blues . Two more opportunity to come up with followed by a 20-year hiatus – lushness of tone is rigorously with hefty rhythm and blues end for my favourites, the tracks and musical innovator. Nowadays The liner notes make much of fun sessions come together on some expansive open horn as and it’s not difficult to see why. excised and his creative interspersed with rather delicate that look forward to his great his C-melody sax solos impress, the recording being made in ‘an THE JAZZ SIDES (Phoenix well as his trademark tightly The patronising tone of the title imagination gives way to and melodic offerings, notably work with the Luis Russell Band, but sound dated – most things open mountainous region of Records 131546: 78.35) by Bing muted work, Webster is in suggests a bid for novelty value, Crosby repetition: even I Hadn’t Anyone when Earle Warren is in the sax especially the incomparable do after 85 years, but not Bix and Northern Italy’ and the music . I well remember Bing incomparable form and the but it’s the lack of novelty that Sings Whilst Bregman Swings from material is beautifully chosen. The till You comes out surprisingly chair for Send me Softly . Mahogany Hall Stomp . But the Lang. The other side of 1920s actually reflects that, wordless troubles me. Collins was a first time round and it holds up only point of argument is the funky. However, there is more quality of performance is reissues comes with vocals being the main ‘front line capable pianist and her pretty well. The songs are well quality of the vocal performance. tension that on .... Relaxes and Two releases in TCB’s Swiss excellent throughout except AMERICANS IN EUROPE instrument’ in originals notable performances are assured and chosen, no one phrased a lyric I guess listeners divide equally Burrell, mostly wearing his blues Radio Days Jazz Series make up from some of the singers (this is (Jazz Oracle BDW 8068: 70.18), for stillness and a sense of space. studied, with nice variations in with Crosby’s nonchalant grace between those who can’t hat, is excellent, as is Ray Bryant. two-thirds of the programme a very generous interpretation of meticulously researched and It didn’t involve me, but the her melody statements, but there and the band is terrific, but Buddy tolerate the distressed state of Count Basie’s trumpet star of the when Norman Granz’s 1960 Jazz ‘Hot Five and Seven’, including presented (44 page booklet expressive range and true is nothing to grab the attention, Bregman over-plays the ‘jazz’ Billie’s vocal powers and those 1950s, can be at the Phil tour landed in Zurich. tracks by differently named bands brimming with rare photographs) intonation of the UK despite the presence of the great In the first half the Stan Getz and ones accompanying singers), and musically interesting and representative, Cleveland Ray Brown and busy drummer Quartet followed the OSCAR proving the point that pleasant. The two bands are the Watkiss, impress throughout. I Frank Butler. The bonus tracks PETERSON TRIO (02302: Sweethearts on Parade only New Yorkers, originally led by always expect a sense of space from an album by vibist Gene 42.28), then after the interval it became a good song when Louis George Carhart (Berlin, 1927-28) with Scandinavian jazz and Estes are lively and find Collins was the turn of the MILES sang it – here it’s Lillie Delk and Frank Guarente’s World acclaimed young tenor saxist sounding more spontaneous. I DAVIS QUINTET (02312: Christian – ho hum! Less Known Georgians (Geneva, Sarah Elgeti’s compositions got much more out of ANDY 58.53). In musical terms the comprehensive, but also superb, 1926). This is very much music often reflect that. However, AND THE BEY SISTERS Peterson set is the more is IN A MIST (Phoenix Records for raccoon coats and Hispano INTO THE OPEN (Your (Blue Moon BMCD 1634: 45.14), satisfying, the immaculate pairing 131535: 74.27) concentrating on Suizas, with the New Yorkers the Favourite Jazz yfjcd 020: 61.37) though not consistently. Andy of Ray Brown and Ed Thigpen Bix Beiderbecke’s 1927 more interesting band, building reflects a comprehensive talent. Bey, who has had a distinguished, backing a pianist at the height of recordings under his own name up a head of steam on numbers For instance, the influences on if not prominent, career as a jazz his powers in a challenging and Frank Trumbauer’s, mostly like Clarinet Marmalade and the opening three tracks (with pianist/singer, operated in a trio programme, the intricacies of The with Adrian Rollini, Eddie Lang, featuring Danny Polo (arranger titles such as Home and Out in the with his sisters for some 10 Maidens of Cadiz in contrast to Don Murray and the rest. Singin’ and alto as well as clarinet), an Fields ) are clear enough, then years. I don’t think it did them his finger-busting assault on the Blues is pure magic of course, under-recorded Dave Tough and Sarah launches into the powerful any favours to put Chet Atkins in various bebop favourites. but so are plenty of others, notable contributions from bluesy Downstairs and switches to charge of their debut album. The However, it’s the Miles set that notably the Bix/Trumbauer/Lang trumpeter Evelyn ‘Buzz’ Bazell flute – in neat interaction with voices are great, the multi- grabs the attention. For a start I trio performances. Every time I and guitarist/banjoist Tony Marianne Markmann-Eriksen’s tracking effective, the material rather liked the slogan ‘officially hear these different thoughts Morello. baritone sax – for the gently varied, but they keep reminding released for the first time’, then, strike me: this time the sheer dancing Ringe I vand . My one me of different groups (in pop or as Olivier Senn’s excellent little authority of Bix’s cornet (never With only two new recordings complaint is that it’s gospel, maybe) and it’s only when essay in the booklet makes clear, mind poetry and romance); the this time, I found one of them inconsiderate for a relative they remind me of Lambert, these were fraught times for the quality of the arrangements (Bill difficult to relate to, certainly in newcomer to fill the booklet Hendricks and Ross (on Arnett Miles Davis Quintet. John Challis, no doubt) and the fact jazz terms. UKITUSA with at least eight photographs of Cobb’s Smooth Sailing ) that I Coltrane was already going his that Eddie Lang’s early death was QUINTET (Schema Records herself and very few words. 32 THE JAZZ RAG THE JAZZ RAG 33 COMPETITIONS

SUPER PRIZES TO BE WON! WINNERS & ANSWERS Just answer the questions currently and send your answers to Jazz Rag Competitions, PO Box 944, Edgbaston, Birmingham, B16 8UT. First out of the hat are the lucky winners. Please write the name of the NO. 122 relevant competition in the top left hand corner of your postcard or envelope. If possible, add your number or email as well as your address. JACKIE McLEAN BOOK Closing date: 9th November, 2012 Congratulations to C.K. LEE of Stockport LOUIS ARMSTRONG CDs The Connection /Miles Davis Discovery has kindly provided ONE copy of Essential Jazz Classics’ magnificent four CD set of Louis Armstrong Hot Five and Seven. 1. Which pair of brothers played clarinet and drums in the Hot Seven? SINATRA BOOK 2. Which pianist who played on many Hot Five recordings re-joined Armstrong in the late 1940s? Congratulations to: STAN JAMES of Ashford; JANE JAZZ AT THE FORGE RATCLIFFE of Swindon and The Forge has established itself as one of London’s most exciting performances spaces, with beautiful MRS. M. BARNES of acoustics, stunning architecture and a relaxed atmosphere. ONE lucky reader can obtain a pair of tickets Newcastle-on-Tyne. for a concert during the London Jazz Festival, with a glass of Prosecco on arrival. The venue offers a choice Harry James/ of singer Randolph Matthews with guest Acer Maple (November 11) and Loop Collective, with Rory Simmons and Fyfe Dangerfield (November 14). SHAI MAESTRO CD 1. Headlining the London Jazz Festival is the New York-born saxophonist who cemented his 1950s reputation with the album, Saxophone Colossus . Who is he? Congratulations to: ALAN 2. Also headlining is the keyboard star who played with Miles Davis for much of the 1960s and is a BRINKWORTH of renowned composer, notably of Watermelon Man . Who? Redditch; MIKE HODGES of Abergavenny and LAURIE STEAD of JAZZ: BODY AND SOUL Wakefield. Evans Mitchell Books are generously supplying THREE copies of Bob Willoughby’s superb book of jazz Gilad Atzmon/Berklee photographs, Jazz: Body and Soul . 1. Which one of Willoughby’s subjects was portrayed by Diana Ross in the film Lady Sings the Blues ? BARNES/MATHIESON CD 2. Which one of his subjects first attained fame as trumpeter with the Gerry Mulligan Quartet, became as Congratulations to: HEINZ celebrated for his wispy vocals as for his trumpet playing and died after a fall from a window in Amsterdam? HENSCHKE of Berlin, Germany; BILL WOOD of Manchester and TONY CHARLTON of Darlington. Count Basie/ NEWS OF THE NEWS and a story we had missed from the most substantial chunks of June – the publication of Graham editorial. (We seldom get many The Sandy Brown Society Blamire’s Edinburgh Jazz wrong answers to a Newsletter is always full of Enlightenment: The story of Edinburgh September’s Just Jazz is, surprises, not least how John competition, but this was Traditional Jazz (Fastprint Publishing: astonishingly, Number 173 and, as Latham has found enough material an exception. Cab Calloway www.fastprint.net). always, is full of interesting news for nearly 200 newsletters! There’s appeared on some 70% of and reflections, CD and festival always a comic touch, in recent There can be just a little element of reviews and characterful images. the answers, but, though he issues from Steve Voce’s account of eccentricity in one or two jazz and No shortage of those in a was in Stormy Weather, it Benny Green (the current bête jazz-related publications and A splendidly detailed obituary of was Fats’ band that Benny noire of the SBS) accepting Andre Pictorial History of Gargling (News Graeme Bell by Bill Haesler. Just Previn’s congratulations for a radio Carter appeared with – not from David Christie’s Doo Dah Jazz is proud enough of its tag ‘The the usual Rhythm, but a 7- script he’d been too lazy to write Diaries ) comes into that category. In traditional jazz magazine’ to include (August) and Dick Laurie’s fact Issue 8, published in July, has a 4-page feature A Jazz Banjo Life piece with, unusually, a anecdote of the humiliation of an some pretty useful stuff in it, Part 1 (by Cynthia Sayer) and trombonist Alton Moore, over-busy sound engineer notably a full listing of the gigs of open-minded enough to include plus Gene Porter, Irving (September). Among the more all the post-Bonzo bands: Bob Kerr Zoot Sims in the CD reviews. Ashby, Slam Stewart and serious items is Don Mutch’s and his Whoopee Band, Three Zutty Singleton.) account of the set of Al Bonzos and A Piano, Idiot Bastard Sandy Brown Newsletter: Fairweather’s music played at this Band, Bill Posters Will Be Band, and 01792 390055 year’s Norwich Jazz Party (and the rest. An interview with ex- Email [email protected] certainly one of the most Bonzo Dave Clague and a piece by www.jazzuk.com/justjazz.html interesting sets of the weekend) Mark Prescott headed I’m a Fan are

JAZZ AT THE FORGE Nikki Schrire (5), Sam Crowe (11), the Adriano Adewale Group (12), Nick Smart’s Jazz Matanzas (19), Mick Coady’s Synergy featuring The intimate Camden venue offers jazz and jazz-related events on American alto saxist David Binney (25) and the Rob Hughes Quintet Thursdays and Fridays, the latter night adding fine dining to the with Roger Beaujolais (26). November begins with Sailing to package in association with neighbouring restaurant The Foundry. Byzantium: the Christine Tobin Quintet (2) before the London Jazz Yazz Ahmed brings a fine quintet to the Forge (Shabaka Hutchings, Festival brings a packed programme for November 9 to 18. Naadia Sheriff, Dudley Phillips, Jim Hart) on October 4, followed by www.forgevenue.org/whats-on/

34 THE JAZZ RAG THE JAZZ RAG 35