ISSUE 16 ° May 2008 Swinging Shepherd!
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, -
Post-World War II Jazz in Britain: Venues and Values 19451970
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Post-World War II Jazz in Britain: Venues and Values 19451970 Williams, KA http://hdl.handle.net/10026.1/4429 10.1558/jazz.v7i1.113 Jazz Research Journal Equinox Publishing All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. [JRJ 7.1 (2013) 113-131] (print) ISSN 1753-8637 doi:10.1558/jazz.v7i1.113 (online) ISSN 1753-8645 Post-World War II Jazz in Britain: Venues and Values 1945–1970 Katherine Williams Department of Music, Plymouth University [email protected] Abstract This article explores the ways in which jazz was presented and mediated through venue in post-World War II London. During this period, jazz was presented in a variety of ways in different venues, on four of which I focus: New Orleans-style jazz commonly performed for the same audiences in Rhythm Clubs and in concert halls (as shown by George Webb’s Dixielanders at the Red Barn public house and the King’s Hall); clubs hosting different styles of jazz on different nights of the week that brought in different audiences (such as the 100 Club on Oxford Street); clubs with a fixed stylistic ideology that changed venue, taking a regular fan base and musicians to different locations (such as Ronnie Scott’s Jazz Club); and jazz in theatres (such as the Little Theatre Club and Mike West- brook’s compositions for performance in the Mermaid Theatre). -
Trad Dads, Dirty Boppers and Free Fusioneers, British Jazz, 1960-1974
Trad Dads, Dirty Boppers and Free Fusioneers, British Jazz, 1960-1974 Duncan Heining Sheffield and Bristol, CT: Equinox, 2013. ISBN: 978-1-84553-405-9 (HB) Katherine Williams University of Plymouth [email protected] In Trad Dads, Dirty Boppers and Free Fusioneers, British Jazz 1960–1974, Duncan Heining has made a significant contribution to the available literature on British jazz. His effort is particularly valuable for addressing a period that is largely neglected; although the same period is covered from a fusion perspective in Ian Carr’s Music Outside (1973, rev. 2008) and Stuart Nicholson’s Jazz-Rock (1998), to my knowledge Heining has provided the first full-length study of the period from a jazz angle. Trad Dads provides a wealth of information, and is packed densely with facts and anecdotes, many of which he gained through a series of original interviews with prominent musicians and organizers, including Chris Barber, Barbara Thompson, Barry Guy, Gill Alexander and Bill Ashton. Throughout the monograph, he makes a case for the unique identity and sound of British jazz. The timeframe he has picked is appropriate for this observation, for there are several homegrown artists on the scene who have been influenced by the musicians around them, rather than just visiting US musicians (examples include Jon Hiseman and Graham Bond). Heining divides his study thematically rather than chronologically, using race, class, gender and political stance as themes. Chapters 1 to 3 set the scene in Britain during this period, which has the dual purpose of providing useful background information and an extended introduction. -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
The History of Women in Jazz in Britain
The history of jazz in Britain has been scrutinised in notable publications including Parsonage (2005) The Evolution of Jazz in Britain, 1880-1935 , McKay (2005) Circular Breathing: The Cultural Politics of Jazz in Britain , Simons (2006) Black British Swing and Moore (forthcoming 2007) Inside British Jazz . This body of literature provides a useful basis for specific consideration of the role of women in British jazz. This area is almost completely unresearched but notable exceptions to this trend include Jen Wilson’s work (in her dissertation entitled Syncopated Ladies: British Jazzwomen 1880-1995 and their Influence on Popular Culture ) and George McKay’s chapter ‘From “Male Music” to Feminist Improvising’ in Circular Breathing . Therefore, this chapter will provide a necessarily selective overview of British women in jazz, and offer some limited exploration of the critical issues raised. It is hoped that this will provide a stimulus for more detailed research in the future. Any consideration of this topic must necessarily foreground Ivy Benson 1, who played a fundamental role in encouraging and inspiring female jazz musicians in Britain through her various ‘all-girl’ bands. Benson was born in Yorkshire in 1913 and learned the piano from the age of five. She was something of a child prodigy, performing on Children’s Hour for the British Broadcasting Corporation (BBC) at the age of nine. She also appeared under the name of ‘Baby Benson’ at Working Men’s Clubs (private social clubs founded in the nineteenth century in industrial areas of Great Britain, particularly in the North, with the aim of providing recreation and education for working class men and their families). -
Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz. -
I Think We're All Writing Very Politically Charged Music
JAZZ 9 Garcia, 26, sitting in her local cafe in New horn-fuelled West African sound. There’s the American art form. (For his sold-out gig at Cross, southeast London, a vibrant creative I THINK WE’RE hip-hop and Afrobeat influenced Ezra Collec- London’s Roundhouse, Washington brought hub that includes Peckham and Deptford and tive, which picked up the British jazz act of the Hutchings onstage to improvise fierce sax happening DIY club/jam nights with names ALL WRITING year award at the recent Jazz FM Awards. And squalls alongside him). such as Steez and Steam Down, at which the Maisha ensemble, with Garcia on sax and London is one of the world’s most culturally acclaimed Californian saxophonist and band VERY POLITICALLY flute alongside guitarist Shirley Tetteh, blending integrated cities; little wonder, then, that sounds leader Kamasi Washington was spotted during free jazz over West African rhythms and serving from Britain’s former colonies are being his recent visit to the capital. CHARGED MUSIC, it up with raw spiritual intensity. This isn’t jazz as embraced — reclaimed — by the scene. “The press are calling it new but we’ve been we know it, if jazz as we know it is doo-wop and Perhaps inevitably, with the spectre of Brexit, doing this for a while,” she continues, her head- WHETHER WE LIKE black tie and the Great American Songbook, but wildly unpopular among British youth, looming phones around her neck, her laptop on the then the album’s musical director, Shabaka large, and the effects of the Windrush immi- table in front of her. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
Nozstock the Hidden Valley 2020 “Into the Great Unknown…”
Nozstock The Hidden Valley 2020 “Into the Great Unknown…” Sister Sledge, Bill Bailey, Andy C ft Tonn Piper, Calyx and Teebee w/ LX One, Flava D, Gentleman’s Dub Club and Submotion Orchestra headline, plus Ibibio Sound Machine, Dirty Dike w/ DJ Sammy B-Side, Mungo’s HiFi ft. Gardna, Stanton Warriors, Break, Kingdem: Rodney P, Ty and Blak Twang, Dutty Moonshine Big Band, Tankus The Henge and many more, all-star across a sublime weekend in Herefordshire Nozstock is one of the UK’s longest running festivals and enters its 22nd year, with Into The Great Unknown as its theme. From the dawn of time through to its farthest futuristic reaches, this summer will be its most inspiring and enchanting journey yet. Set on a beautiful working farm across Thurs 23rd - Sunday 26th July, the intimate odyssey is family-run, home-made and proudly independent. It’s not only one of the UK’s longest running festivals, but also one of the most authentic. Nozstock is an odyssey of wild escapism for all in a wondrous family-friendly environment, which packs in so much detail at every turn. Fresh for 2020, as well as Nozstock’s truly wonderful production there are stage revamps across the site and secret DJ sets taking place across the weekend, including in the Cubicles. Now for the lineup. Sister Sledge are responsible for some of the biggest dance anthems of all time, universally cherished songs that bring everyone together in love, life and soulful groove - they are the perfect Sunday night headliners. And bringing an air of unique surrealness to proceedings, Bill Bailey is a comedian, musician, writer, author, director and presenter known for his live shows and his work on TV. -
The Jazz Rag
THE JAZZ RAG ISSUE 140 SPRING 2016 EARL HINES UK £3.25 CONTENTS EARL HINES A HIGHLY IMPRESSIVE NEW COLLECTION OF THE MUSIC OF THE GREAT JAZZ PIANIST - 7 CDS AND A DVD - ON STORYVILLE RECORDS IS REVIEWED ON PAGE 30. 4 NEWS 7 UPCOMING EVENTS 8 JAZZ RAG CHARTS NEW! CDS AND BOOKS SALES CHARTS 10 BIRMINGHAM-SOLIHULL JAZZ FESTIVALS LINK UP 11 BRINGING JAZZ TO THE MILLIONS JAZZ PHOTOGRAPHS AT BIRMINGHAM'S SUPER-STATION 12 26 AND COUNTING SUBSCRIBE TO THE JAZZ RAG A NEW RECORDING OF AN ESTABLISHED SHOW THE NEXT SIX EDITIONS MAILED 14 NEW BRANCH OF THE JAZZ ARCHIVE DIRECT TO YOUR DOOR FOR ONLY NJA SOUTHEND OPENS £17.50* 16 THE 50 TOP JAZZ SINGERS? Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. SCOTT YANOW COURTS CONTROVERSY OTHER SUBSCRIPTION RATES: EU £20.50 USA, CANADA, AUSTRALIA £24.50 18 JAZZ FESTIVALS Cheques / Postal orders payable to BIG BEAR MUSIC 21 REVIEW SECTION Please send to: LIVE AT SOUTHPORT, CDS AND FILM JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 FESTIVALS IN PERIL Fax: 0121 454 9996 Email: [email protected] In his latest Newsletter Chris Hodgkins, former head of Jazz Services, heads one item, ‘Ealing Jazz Festival under Threat’. He explains that the festival previously ran for eight Web: www.jazzrag.com days with 34 main stage concerts, then goes on: ‘Since outsourcing the management of the festival to a private contractor the Publisher / editor: Jim Simpson sponsorships have ended, admission charges have been introduced and now it is News / features: Ron Simpson proposed to cut the Festival to just two days. -
Professor Doctor FRIEDRICH GULDA Called to the Waiter, Member to Qualify for the Final Eliminations
DOWN BEAT, august 1966 VIENNESE COOKING written by Willis Conover Professor Doctor FRIEDRICH GULDA called to the waiter, member to qualify for the final eliminations. Then he'd have to "Dry martini!'' The waiter, thinking he said "Drei martini|'' go through it all again. brought three drinks. It's the only time Gulda's wishes have The jurors were altoist Cannonball Adderley, trombonist J. J. ever been unclear or unsatisfied. Johnson, fluegelhornist Art Farmer, pianist Joe Zawinul, The whole city of Vienna, Austria snapped to attention when drummer Mel Lewis and bassist Ron Carter. The jury Gulda, the local Leonard Bernstein decided to run an chairman who wouldn't vote except in a tie, was critic Roman international competition for modern jazz. Waschko. The jury's refreshments were mineral water, king- For patrons he got the Minister of Foreign Affair, the Minister size cokes, and Viennese coffee. For three days that was all of Education, the Lord Mayor of Vienna and the they drank from 9:30 am till early evening. The jury took la Amtsfuhrender fur Kultur, Volksbildung und Schulverwaltung duties seriously. der Bundeshauptstadt Wien. For his committee of honor he A dialog across the screen might go like this. enlisted the diplomatic representatives of 20 countries, the Young lady in the organization (escorting contestant): "Mr. directors of 28 music organizations, and Duke Ellington. For Watschko?" expenses he obtained an estimated $80,000. For contestants Watschko: "Yes?" he got close to 100 young jazz musicians from 19 countries- Young lady: "Candidate No. 14 " some as distant as Uruguay and Brazil. -
The Walled Garden, Loseley Park Estate Sunday 14Th August, From
The Walled Garden, Loseley Park Estate Sunday 14th August, from 4.30 pm Jazz in the Park is held by and Arriving and Parking in support of Guildford-based Loseley Park is situated on the bowel cancer charity GUTS B3000 New Pond Road and the Fighting Bowel Cancer. main entrance is in Stakescorner GUTS works to improve bowel Road, signposted ‘Loseley House’. cancer survival rates through (If using SATNAV, please enter better screening, detection, “Stakescorner Road GU3 1HS“ treatment and care, as well as otherwise you will be directed to funding research and raising the wrong part of Loseley Estate.) awareness of the disease. Follow the road as far as you can For more information please to reach the car park, from where visit the GUTS website: GUTS flags will guide you to the www.gutsfbc.co.uk entrance of the Walled Garden. You are welcome to bring your We would like to thank Loseley own garden chairs, rugs and Park Estate and the Molyneaux gazebos/umbrellas but if you are family for so generously allowing using a gazebo, please site with us to hold this event in the consideration for others. beautiful Walled Garden at no cost to the charity. The opening set from the George CLICK AND COLLECT Abbot School Big Band will Our thanks also to Marianne POSH PICNIC : begin at around 5.00pm. Wyndham of Guildford Jazz for www.gutsfbc.co.uk/ putting together such an exciting Weather! for details line-up of superb musicians. The concert is outdoors so in the For information on Loseley Park event of extreme weather (ie go to www.loseleypark.co.uk prolonged heavy rain) it is possible THE GEORGE ABBOT SCHOOL that we would have to cancel the BIG BAND concert at short notice.