BOB BERTLES QUINTET PREVIEW by John Shand* ______
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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. -
VJAZZ 67 AUG 2015 Proactively Collecting, Archiving and Disseminating Australian Jazz
VJAZZ 67 AUG 2015 ISSN: 2203-4811 Proactively Collecting, Archiving and Disseminating Australian Jazz Distribution 650 QUARTERLY MAGAZINE OF THE AUSTRALIAN JAZZ MUSEUM. FOUNDING PATRON: The late WILLIAM H. MILLER M.A., B.C.L. (Oxon.) 15 Mountain Highway, Wantirna Melway Ref. 63 C8 (All correspondence to: PO Box 6007 Wantirna Mall, Vic. 3152) Registered No: A0033964L ABN 53 531 132 426 Ph (03) 9800 5535 email: [email protected]. Web page: www.ajm.org.au VJAZZ 67 Page 2 Letters to the Editor Contents 02 Letters to the Editor Dear Editor, 03 He’s the Drummer Man in the Band I am really overwhelmed about both articles, (Vjazz 66) the layout of it and how By Bill Brown you appreciate Coco Schumann. He will be very happy to read that he is not for- 04 The Museum’s 100-year-old Recordings gotten Down Under. As soon as I have the printed version I will forward it to him. I By Ken Simpson-Bull didn't know that you will use the photo with us, so I was flabbergasted to see this 06 Research Review - A Searing Sound young couple with Coco on p.7 :-) By John Kennedy OAM Well done, you did a great job, Ralph. 07 News from the Collection Jazzily By Ralph Powell Detlef 08 Visitors to the Archive 10 Instrument of Choice Dear Editor Oh So Beautiful Your members might be interested to know that Jack O’Hagan’s story and music 11 Two Studies in Brown is being brought back into focus. By Bill Brown I am near to completion of my grandfather Jack O’Hagan’s biography. -
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. -
JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316)
Bio information: JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ One of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). For 45 years, he has been a major force, producing a prodigious and creative body of work that expands beyond jazz. Surman’s extensive discography as a leader and a side man numbers more than 100 recordings to date. Surman has worked with dozens of prominent artists worldwide, including John McLaughlin, Chick Corea, Chris McGregor’s Brotherhood of Breath, Dave Holland, Miroslav Vitous, Jack DeJohnette, Terje Rypdal, Weather Report, Karin Krog, Bill Frisell, Paul Motian and many more. Surman is probably most popularly known for his longstanding association with the German label ECM, who began releasing Surman’s recordings in 1979. Surman has won numerous jazz polls and awards and a number of important commissions. Every period of his career is filled with highlights, which is why Cuneiform is exceedingly proud to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene. Born in Tavistock, in England, Surman discovered music as a child, singing as soprano soloist in a Plymouth-area choir. He later bought a second- hand clarinet, took lessons from a Royal Marine Band clarinetist, and began playing traditional Dixieland jazz at local jazz clubs. -
Popular Music, Stars and Stardom
POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona . -
MOONTRANE PROVIDES SOME JAZZ ACTION by Eric Myers Jazz Action S
MOONTRANE PROVIDES SOME JAZZ ACTION by Eric Myers ______________________________________________________________ Jazz Action Society concert February 6, 1980, Musicians’ Club Encore Magazine, March, 1980 ______________________________________________________________ his concert was opened by two sets provided by the John Leslie Trio, including the leader on vibraharp, Gary Norman (electric guitar) and T Richard Ochalski (acoustic bass). Their music consisted of jazz and popular music standards in swinging 4/4 tempo: Jerome Kern's All The Things You Are, Horace Silver's Opus de Funk and Doodlin', Oliver Nelson's Stolen Moments, Clifford Brown's Joy Spring etc. Richard Ochalski, bassist with the John Leslie Trio… These sets were mainly distinguished by the fluent playing of Gary Norman, who appears to be an impressive new addition to the ranks of Sydney jazz guitarists. He swings easily, and employs a nice vibrato at the end of his long notes, enabling the guitar to sing, in a style not unlike that of the American guitarist Larry Carlton. There was a hint of unease in John Leslie's playing, which appeared a little hurried and up on the beat, although this tendency was less apparent by the closing stages of the trio's second set. Inevitable sameness: The music played by this group suffered from an inevitable sameness, as the format adopted for each tune was, if I remember correctly, exactly the same: statement of theme, a solo from each player, then return to the theme. Bass solos are a welcome contrast, but in every tune? Without a drummer to provide some rhythmic drive and a few extra colours, this group played a little too long, which meant that Bob Bertles' Moontrane 1 was not able to start until 10.30pm. -
Stewart Speer: a Drummer Who Won't Let the Odds Beat
STEWART SPEER: A DRUMMER WHO WON’T LET THE ODDS BEAT HIM by Eric Myers ___________________________________________________ [This article appeared in the Sydney Morning Herald on September 15, 1981.] his week the legendary 53-year-old drummer Stewart Speer embarks on a 10- week tour of Australia with Max Merritt, the former Australian rock star now T based in England. This period of employment breaks a long drought for an important figure in Australian jazz history. Apart front a similar tour with Merritt last year, Speer has worked only occasionally since returning two years ago from England, where he spent most of the 1970s. Max Merritt & the Meteors, L-R, Speer, Lance Dixon, Merritt, Martin (Fuzz) Deniz, John Gourd… 1 Speer, with cigarette dangling… “I would like to be playing more, but I’m not sure about how to go about it,” said Speer recently. “I wouldn’t mind a regular gig, maybe with some electric players. I like a bit of noise.” “Of course I have been sick since I came back from England,” he says, ticking off an impressive series of afflictions — leg ulcers, cellulitis, gout and arthritis are just some of them. Physically, he is an awesome man — some 22 stone, although he is down from last year’s 25 stone — with a flowing white beard and long grey hair which seems to grow out of the sides of his ever-present peak cap. In performance, he establishes a formidable presence behind the array of cymbals and tom-toms which make up the modern drum-kit. Always there is a huge cloud of smoke pouring upwards from the cigarette which dangles nonchalantly from his lips. -
[Warning - This Film Contains Nudity and References to Drugs]
[Warning - This film contains nudity and references to drugs] [What A Life! Rock Photography by Tony Mott - a free exhibition until 7 February 2016. Solid Gold - Jeff Apter & Philip Morris, Metcalfe Theatre, State Library of NSW, 5th December 2015] [Dressed in a black shirt and dark jeans, grey-haired Philip Morris sits beside his interviewer Jess Apter, a bald man dressed casually] [JEFF APTER] Thank you. Before starting, I want to say I was really fortunate to be able to work with Philip on this book. [Jeff Apter holds up a coffee table book] [JEFF APTER] And it was one of the more interesting exercises, wasn't it? Because we were given a directive to come up with... Was it 200 photos? ..for this book. [PHILIP MORRIS] That's right. [JEFF APTER] And Philip's archive is so fantastic and so rich, that I think we got it down to, what, 600? [PHILIP MORRIS] Yeah. [Audience laughs] [JEFF APTER] Was it 600 to start with? It was something like that. And it's staggering, really. It's a really great document of Australian rock history at a really interesting turning point. So to get it down to this... It's begging for a second edition, by the way. There's so many great photos. So it was a real honour to be able to... to do that. It was a lot of fun. [PHILIP MORRIS] Yeah, it was. [JEFF APTER] We actually had built into our contract... Our agreement was an understanding that we would never work in a boring situation. -
Turning Gigabytes Into Gigs: “Songification” and Live Music Data, Academic Quarter, Vol
This is the published version Verhoeven,DK, Davidson,A, Gionfriddo,A, Verhoeven,J and Gravestock,P 2014, Turning Gigabytes into Gigs: “Songification” and Live Music Data, Academic quarter, vol. 9, Autumn, pp. 151-163. Available from Deakin Research Online http://hdl.handle.net/10536/DRO/DU:30068812 Reproduced with the kind permission of the copyright owner Copyright: 2014, Aalborg University kvarter Volume 09. Autumn 2014 • on the web akademiskacademic quarter Turning Gigabytes into Gigs “Songification” and Live Music Data Professor Deb Verhoeven Deb Verhoeven is Professor and Chair of Media and Communication at Deakin University. She is the Deputy Director of the Centre for Memory, Imagination and Invention (CMII) and in 2013 was rec- ognised as one of Australia’s most innovative academics. Dr Alwyn Davidson Alwyn Davidson is an early career researcher specialising in the di- gital humanities and geovisualisation at Deakin University. Alwyn’s research interests include the visualisation of humanities data, the application of GIS and spatial techniques, and the analysis of cultur- al datasets. Alex Gionfriddo Alex Gionfriddo is a librarian at the AFI Reseach Collection (a film and tv research library) within the School of Media and Communi- cation at RMIT University. Alex is the co founder (with Deb Verho- even) and administrator of The Ultimate Gig Guide, and has worked on various cultural databases including the award winning bonza database. Alex has played in bands for 19 years (mainly with Dyna- mo) and at major music festivals in Melbourne. James Verhoeven is a software development professional, with a primary interest in the design, development and management of business applications. -
4KQ's Australia Day
4KQ's Australia Day A FOOL IN LOVE JEFF ST JOHN A LITTLE RAY OF SUNSHINE AXIOM A MATTER OF TIME RAILROAD GIN ALL MY FRIENDS ARE GETTING MARRIED SKYHOOKS ALL OUT OF LOVE AIR SUPPLY ALL THE GOOD THINGS CAROL LLOYD BAND AM I EVER GONNA SEE YOUR FACE AGAIN THE ANGELS APRIL SUN IN CUBA DRAGON ARE YOU OLD ENOUGH DRAGON ARKANSAW GRASS AXIOM AS THE DAYS GO BY DARYL BRAITHWAITE BABY WITHOUT YOU JOHN FARNHAM/ALLISON DURBAN BANKS OF THE OHIO OLIVIA NEWTON-JOHN BE GOOD JOHNNY MEN AT WORK BECAUSE I LOVE YOU MASTER'S APPRENTICES BIG TIME OPERATOR THE ID/JEFF ST JOHN BLACK EYED BRUISER STEVIE WRIGHT BODY AND SOUL JO KENNEDY BOM BOM DADDY COOL BOOM SHA LA-LA-LO HANS POULSEN BOPPIN THE BLUES BLACKFEATHER CASSANDRA SHERBET CHAIN REACTION JOHN FARNHAM CHEAP WINE COLD CHISEL CIAO BABY LYNNE RANDELL COME AROUND MENTAL AS ANYTHING COME BACK AGAIN DADDY COOL COME SAID THE BOY MONDO ROCK COMMON GROUND GOANNA COOL WORLD MONDO ROCK CRAZY ICEHOUSE CURIOSITY (KILLED THE CAT) LITTLE RIVER BAND DARKTOWN STRUTTERS BALL TED MULRY GANG DEEP WATER RICHARD CLAPTON DO WHAT YOU DO AIR SUPPLY DON'T FALL IN LOVE FERRETS DON'T YOU KNOW YOU'RE CHANGING BILLY THORPE/AZTECS DOWN AMONG THE DEAD MEN FLASH & THE PAN DOWN IN THE LUCKY CO RICHARD CLAPTON DOWN ON THE BORDER LITTLE RIVER BAND DOWN UNDER MEN AT WORK DOWNHEARTED JOHN FARNHAM EAGLE ROCK DADDY COOL EGO (IS NOT A DIRTY WORD) SKYHOOKS ELECTRIC BLUE ICEHOUSE ELEVATOR DRIVER MASTER'S APPRENTICES EMOTION SAMANTHA SANG EVIE (PART 1, 2 & 3) STEVIE WRIGHT FIVE .10 MAN MASTER'S APPRENTICES FLAME TREES COLD CHISEL FORTUNE TELLER THE