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Annie Ross Uk £3.25
ISSUE 162 SUMMER 2020 ANNIE ROSS UK £3.25 Photo by Merlin Daleman CONTENTS Photo by Merlin Daleman ANNIE ROSS (1930-2020) The great British-born jazz singer remembered by VAL WISEMAN and DIGBY FAIRWEATHER (pages 12-13) THE 36TH BIRMINGHAM, SANDWELL 4 NEWS & WESTSIDE JAZZ FESTIVAL Birmingham Festival/TJCUK OCTOBER 16TH TO 25TH 2020 7 WHAT I DID IN LOCKDOWN [POSTPONED FROM ORIGINAL JULY DATES] Musicians, promoters, writers 14 ED AND ELVIN JAZZ · BLUES · BEBOP · SWING Bicknell remembers Jones AND MORE 16 SETTING THE STANDARD CALLUM AU on his recent album LIVE AND ROCKING 18 60-PLUS YEARS OF JAZZ MORE THAN 90% FREE ADMISSION BRIAN DEE looks back 20 THE V-DISC STORY Told by SCOTT YANOW 22 THE LAST WHOOPEE! Celebrating the last of the comedy jazz bands 24 IT’S TRAD, GRANDAD! ANDREW LIDDLE on the Bible of Trad FIND US ON FACEBOOK 26 I GET A KICK... The Jazz Rag now has its own Facebook page. with PAOLO FORNARA of the Jim Dandies For news of upcoming festivals, gigs and releases, features from the archives, competitions and who 26 REVIEWS knows what else, be sure to ‘like’ us. To find the Live/digital/ CDs page, simply enter ‘The Jazz Rag’ in the search bar at the top when logged into Facebook. For more information and to join our mailing list, visit: THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 BRITISH JAZZ AWARDS CANCELLED WWW.BIRMINGHAMJAZZFESTIVAL.COM Fax: 0121 454 9996 Email: [email protected] This is the time of year when Jazz Rag readers expect to have the opportunity to vote for the Jazz Oscars, the British Jazz Awards. -
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect. -
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). -
Mystical“ Traditions in an Apocalyptic Text? : the Throne Vision of Revelation 4 Within the Context of Enochic and Merkavah Texts
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2018 „Mystical“ traditions in an apocalyptic text? : the throne vision of revelation 4 within the context of enochic and merkavah texts Frey, Jörg DOI: https://doi.org/10.1515/9783110597264 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-167157 Book Section Published Version Originally published at: Frey, Jörg (2018). „Mystical“ traditions in an apocalyptic text? : the throne vision of revelation 4 within the context of enochic and merkavah texts. In: Collins, John J; de Villiers, Pieter G R; Collins, Adela Yarbro. Apocalypticism and Mysticism in Ancient Judaism and Early Christianity. Berlin: Walter de Gruyter, 103-127. DOI: https://doi.org/10.1515/9783110597264 Jörg Frey “Mystical” Traditions in an Apocalyptic Text? The Throne Vision of Revelation 4 within the Context of Enochic and Merkavah Texts Introduction: Apocalypticism and Mysticism as Contested Categories The boundaries between apocalypticism and mysticism often appear unclear or blurred. This is not only due to the observation of mystical elements in apo- calyptic texts and of revelatory experiences within the context of mystical religion. It is, even more so, due to the fact that the two terms are scholarly categories subject to definition, and depending on their respective definitions, the group of texts or textual elements attributed to each category varies con- siderably. Furthermore, both terms have a long history of reception in Christian theology and biblical exegesis, and both have been intensely rejected by certain theological traditions. -
Jazzletter Jujy 1936, VOI
Jazzletter Jujy 1936, VOI. 5 NO. 7 \ how much jazz had infused his playing. The miscegenation of Are You Reading jazz and hillbilly has longgone on in-Nashville. and some ofthe best of its players are at ease in both idioms. Someone Else’s Copy? Lenny Breau came up through country-and-western music. Each issue of The Underground Grammarian contains the his parents beingprofessionals in the field. and it was'Nashville above question. lt’s discouraging. in the struggle to keep a small that made him welcome. He is. like Garland,‘Carllile and Reed, publication alive. to hear someone say something like, “-1 just the result ofthejazz-country fusion, exceptythat Breau took it a love it. A friend sends me his copies when he’s through with step further and brought into his work the full range ofclassical them.” . A guitar technique. Chet Atkins was the first a&r man to givehim ' In publications supported by advertising. salesmen boast to his head, letting him record for RCAia milestone album in potential advertisers about how many people read each copy. which he showed 0-ff his startling. .for the time, jazz-classical and to the advertiser seeking exposure of his message. those ‘technique, Gene Bertoncini, who is ‘probably the best living figures have weight. He is less interested in how manyypeople exponent of jazz on the five-finger classical guitar. admires buy a periodical than in how many see it. An important Breau; but then you’ll search far to find a guitarist who doesn’t. phenomenon in periodical publishing is what is known as Lenny was a heroin addict. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
LATV Press Release
Press Release Mick Foster is a saxophonist and composer who is known as one of the UK's foremost exponents of the baritone saxophone. 'Live at The Vortex' is an album of melodic original pieces composed by Mick. It was recorded at The Vortex Jazz Club, London, in 2018 and captures the intimacy and excitement of this venue. Mick plays baritone, alto and soprano saxophones and is joined by the engaging, versatile trio of Dominic Ashworth on guitars, Tom Farmer on bass and Tristan Mailliot on drums. The album is available in both digital format and as a physical CD, and will be released on Hainault Records (HNT 0015) on Oct 14 2020, via Bandcamp, Mick's own website and streaming sites. Biographies Mick Foster is a saxophonist and composer who is known as one of the UK's foremost exponents of the baritone saxophone. He has worked extensively in the fields of jazz, commercial and classical music as a saxophonist and composer. He has appeared with many ensembles which include the big bands of John Dankworth, Stan Sulzmann and Mike Garrick, the Back to Basie Orchestra, The Humphrey Lyttelton Band, Ginger Baker’s Air Force, Laura Jurd’s Human Spirit, The London Jazz Orchestra, The London Philharmonic Orchestra and English National Opera. As a composer Mick has written for many ensembles and his music has been played around the world and broadcast on BBC Radio 3. He has recorded three albums under his own name and runs his own record label, Hainault Records. Mick's other releases under his own name are Changing Fortunes (Black Box, 2000), October Dances (Hainault, 2011) and Four Views (Hainault 2012). -
Ken Peplowski Discography
Discography – Ken Peplowski 1987 Double Exposure Concord Jazz 1989 Sonny Side Concord Jazz 1990 Mr. Gentle and Mr. Cool Concord Jazz 1990 Illuminations Concord 1991 Groovin' High Concord Jazz 1992 Concord Duo Series, Vol. 3 Concord Jazz 1992 The Natural Touch Concord Jazz / Concord 1993 Steppin' with Peps Concord Jazz 1994 Encore! Live at Centre Concord Concord Jazz / Concord 1994 Live at Ambassador Auditorium Concord Jazz / Concord 1995 The International All-Stars Play Benny Goodman, Vol. 2 Nagel Heyer Records 1995 The International Allstars Play Benny Goodman, Vol. 1 Nagel Heyer Records 1995 It's a Lonesome Old Town Concord Jazz / Concord 1996 The Other Portrait Concord / Concord Jazz 1997 A Good Reed Concord Jazz / Concord 1998 Grenadilla Concord Jazz 1999 Last Swing of the Century Concord Vista / Concord Jazz 2000 All This...Live in the UK, Vol. 1 Koch / Koch Jazz 2001 Tribute to Benny Goodman with the BBC Big Band Chandos 2002 Just Friends Nagel Heyer Records 2002 And Heaven Too: Live in the U.K. Vol. 2 Koch 2002 Remembering Louis Jump Records 2002 Ellingtonian Tales Mainstream 2002 Lost in the Stars Nagel Heyer Records 2004 Easy to Remember Nagel Heyer Records 2007 Memories of You Tokuma Records 2008 Gypsy Lamento Venus / Venus Jazz Japan 2008 When You Wish Upon a Star Tokuma Records 2011 In Search Of Capri 2013 Maybe September Capri 2013 ...Live at the Kitano Victoria Company 2018 Sunrise Arbors 2018 Duologue Arbors Credits 2018 Duologue Adrian Cunningham / Ken Peplowski Primary Artist 2018 Sunrise Ken Peplowski / Ken Peplowski -
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. -
Cheltlf12 Brochure
SponSorS & SupporterS Title sponsor In association with Broadcast Partner Principal supporters Global Banking Partner Major supporters Radio Partner Festival Partners Official Wine Working in partnership Official Cider 2 The Times Cheltenham Literature Festival dIREctor Festival Assistant Jane Furze Hannah Evans Artistic dIREctor Festival INTERNS Sarah Smyth Lizzie Atkinson, Jen Liggins BOOK IT! dIREctor development dIREctor Jane Churchill Suzy Hillier Festival Managers development OFFIcER Charles Haynes, Nicola Tuxworth Claire Coleman Festival Co-ORdinator development OFFIcER Rose Stuart Alison West Welcome what words will you use to describe your festival experience? Whether it’s Jazz, Science, Music or Literature, a Cheltenham Festival experience can be intellectually challenging, educational, fun, surprising, frustrating, shocking, transformational, inspiring, comical, beautiful, odd, even life-changing. And this year’s The Times Cheltenham Literature Festival is no different. As you will see when you browse this brochure, the Festival promises Contents 10 days of discussion, debate and interview, plus lots of new ways to experience and engage with words and ideas. It’s a true celebration of 2012 NEWS 3 - 9 the power of the word - with old friends, new writers, commentators, What’s happening at this year’s Festival celebrities, sports people and scientists, and from children’s authors, illustrators, comedians and politicians to leading opinion-formers. FESTIVAL PROGRAMME 10 - 89 Your day by day guide to events I can’t praise the team enough for their exceptional dedication and flair in BOOK IT! 91 - 101 curating this year’s inspiring programme. However, there would be no Festival Our Festival for families and without the wonderful enthusiasm of our partners and loyal audiences and we young readers are extremely grateful for all the support we receive. -
May 2001 03 Jazz Ed
ALL ABOUT JAZZ monthly edition — may 2001 03 Jazz Ed. 04 Pat Metheny: New Approaches 09 The Genius Guide to Jazz: Prelude EDITOR-IN-CHIEF: Aaron Wrixon 14 The Fantasy Catalog: Tres Joses ASSOCIATE EDITOR: Michael Martino 18 Larry Carlton and Steve Lukather: Guitar Giants CONTRIBUTORS: 28 The Blue Note Catalog: All Blue Glenn Astarita, Mathew Bahl, Jeff Fitzgerald, Chris Hovan, Allen Huotari, Nils Jacobson, Todd S. Jenkins, Joel Roberts, Chris M. Slawecki, Derek Taylor, Don Williamson, 32 Joel Dorn: Jazz Classics Aaron Wrixon. ON THE COVER: Pat Metheny 42 Dena DeRose: No Detour Ahead PUBLISHER: 48 CD Reviews Michael Ricci Contents © 2001 All About Jazz, Wrixon Media Ventures, and contributors. Letters to the editor and manuscripts welcome. Visit www.allaboutjazz.com for contact information. Unsolicited mailed manuscripts will not be returned. Welcome to the May issue of All About Jazz, Pogo Pogo, or Joe Bat’s Arm, Newfoundland Monthly Edition! (my grandfather is rolling over in his grave at This month, we’re proud to announce a new the indignity I have just committed against columnist, Jeff Fitzgerald, and his new, er, him) — or WHEREVER you’ve been hiding column: The Genius Guide to Jazz. under a rock all this while — and check some Jeff, it seems, is blessed by genius and — of Metheny’s records out of the library. as is the case with many graced by voluminous The man is a guitar god, and it’s an intellect — he’s not afraid to share that fact honour and a privilege to have Allen Huotari’s with us.