THE RAG

ISSUE 145 WINTER/SPRING 2017 UK £3.25

INTAKT AT THE VORTEX

Photo by Stefan Postius CONTENTS

INTAKT RECORDS (PAGE 13) IVORIAN ALY KEITA, MASTER OF THE BALAFON, IS AMONG THE STARS PERFORMING AT INTAKT RECORDS’ FESTIVAL AT THE VORTEX, .

4 NEWS

7 UPCOMING EVENTS

9 THE GREAT JAZZ WRITER REMEMBERED

10 JAZZ CENTRE UK INTRODUCES A MAJOR NEW PROJECT

12 LAST OF THE GUNSLINGERS? STIRS UP DEBATE

14 ELLA AT 100 SUBSCRIBE TO THE JAZZ RAG ON A NOTABLE CENTENARY THE NEXT SIX EDITIONS MAILED DIRECT TO YOUR DOOR FOR ONLY £17.50* 16 JAZZ RAG CHARTS CDS AND BOOKS Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. 18 JAZZ FESTIVALS MARCH-JUNE OTHER SUBSCRIPTION RATES: EU £24 USA, CANADA, AUSTRALIA £27 21 SOUTHPORT JAZZ FESTIVAL REVIEW Cheques / Postal orders payable to BIG BEAR MUSIC Please send to: 22 CD REVIEWS JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 31 BOOK REVIEW To pay by debit/credit card, visit www.paypal.me/bigbearmusic and enter the correct amount for your subscription 32 BEGINNING TO CD LIGHT * to any UK address

THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 33 – AND COUNTING! Fax: 0121 454 9996 The listing of jazz festivals on pages 18-20 suggests a very healthy scene – and, to an Email: [email protected] extent, that is the case -, but doesn’t hint at the hard work, determination and Web: www.jazzrag.com enterprise needed to keep a jazz festival in operation over many years. Having put together 33 Birmingham Jazz Festivals – it has operated under slightly different names Publisher / editor: Jim Simpson at different times, now Birmingham and Solihull Jazz Festival –, Big Bear Music has News / features: Ron Simpson decided it’s time for a celebration concert. Reviews editor: Nick Hart International editor: Yue Yang Why 33? No particular reason, except that the scale of the achievement has suddenly Commercial Director: Tim Jennings dawned. The number of bands and musicians employed, the visitors and revenue Subscriptions & accounts: Nick Hart brought into the city, defies calculation, so let’s stay with one of the simpler sums: the Designed by Nerys James number of gigs at Birmingham festivals comfortably exceeds 6,000! Printed by Warwick Printing www.warwickprinting.co.uk Now there’s a chance to celebrate in the company of festival favourites Tipitina and King Pleasure and the Biscuit Boys at the Holiday Inn, Hill Street, Birmingham on © 2016 THE JAZZ RAG. All original material including advertising May 25. artwork remains the sole copyright of the Publisher and may not be reproduced without permission Tickets: 0121 454 7020 email [email protected]

2 THE JAZZ RAG THE JAZZ RAG 3 NEWS NEWS

JAZZ AT THE band has been assembled, RONNIE’S JAZZ MARDI GRAS ON THE Museum and Art Gallery, Preston the Jim Marshall Auditorium or CONCORDE including Enrico Tomasso, Alan ’s ’s NORTH SEA (March 8) or Summerseat Stage 2 include Joy Shenoy’s Barnes, Simon Spillett and Ian Garden Centre (April 21). organ quartet Draw by Four Jazz nights at Eastleigh’s programme takes in not only the P&O Ferries Mardi Gras Bateman. www.poferries.com (March 7), the FB Pocket Concorde Club are normally evening sessions in the main club Minicruise sails out of Hull on Orchestra (22), the Temperance Wednesday and Sunday, with the room, but Upstairs gigs and March 31, allows a whole day for Bands on Sundays include the Seven on their Diamond Dave Lewin Trio also playing the Sunday lunch-time jazz. Among visiting Amsterdam and returns STABLES JAZZ usual selection of top traditional the many top attractions for the Anniversary Tour (April 13), Moldy Fig wine bar every Friday. from Rotterdam to Hull on April Monthly Sunday morning jazz bands, with the Savannah Jazz main club in March are the Kenny Wednesday Jazz Nights in March 2. A packed line-up of New performances in the Mancini Solstice (May 2), the Dutch Swing Band making the pilgrimage from Garrett Quintet (7-10), London feature ’s Enforcers Orleans-style and rhythm and Forum at the Stables, , College Band (13) and Courtney Yorkshire on March 5 and the (Alex Garnett, Nigel (1), Marlene VerPlanck (8), Pete bands and musicians continue with the Mark Crooks Pine with Omar (18). An John Maddocks Jazzmen doubling Hitchcock, etc.) celebrating the Long’s re-creation of Benny consists of The Revolutionaires, Quartet: Kings of (March interesting addition to the jazz up on March 12 and April 9. Jazz genius of (11), a Goodman’s 1938 Dale Storr, Brass Volcanoes, Dom 19). On April 23 there is a change scene – and an equally interesting and jazz-related events outside double bill of and concert (22) and the Ben Waters Pipkin, Paddy Milner’s Londonola of programme, with comparison with the Mark the Wednesday-Sunday evenings Julian Arguelles (18) and the Quartet (29). The future and Tipitina. replacing Poly Gibbons and Crooks gig – is the appearance of schedule include the Mayor and Wallace Roney Quintet (20-21). programme includes the Scott appearing with James Pearson award-winning classical Mayoress of Eastleigh hosting an April brings, among many others, Hamilton Quartet (John Pearce, TRIBUTE TO BOBBY Fans of Tipitina looking to hear and they are followed by the Jay clarinettist Emma Johnson with evening of Swinging at the Cotton Alan Broadbent and Georgia , Steve Brown) on Highlight of Watermill Jazz’s programme at Betchworth Park Golf them nearer their home base can Phelps Quartet (May 21). Jazz pianist John Lenehan and Club (March 11), Mother’s Day Mancio (3) starting off a Club is a Tribute to on April 4. The first half of the make their way to the Harris and jazz-related evening events in drummer Paul Clarvis in Clarinet April 12, but a major highlight Lunch with GOJO (Girls Only succession of big names such as comes on April 19 with 60 Years Jazz Orchestra (March 26) and evening will be a showing of Gary Barber’s documentary about Bobby and in the second half Bobby’s trio on four , Mark Benny Golson (10-11), Joey De of Jazz at the Concorde, the Snake Davis Band with Francesco (12-13), Eliane Elias celebrating the music of the many Classic Sax Solos (April 7). Edwards, Andrew Cleyndert and , is joined by tenor saxist Josephine Davies. Also on the Watermill programme are two (19-21), Nicholas Payton (25-26) great artists who have played the Tel.: 023 8061 3989 and (30). Sunday www.theconcordeclub.com American pianists, Bob Dorough (March 21) and Patricia Barber club during its remarkable lunch-times feature artists of the history. A wonderful 11-piece (April 11). Jim Hart’s Cloudmakers Trio (March 7), the David Newton Trio (14), Jasper Holby’s Fellow Creatures (28) and the calibre of Elaine Delmar (9) and a special double concert (16) – 55 YEARS ON FROG ISLAND Scott Hamilton Quartet (April 18) complete the programme before a one week’s closure on April 25. both lunch-time and evening – of The longevity of some of our best regional traditional jazz bands is Tel.: 07415 815784 the Band a constant source of amazement. Latest to clock up a memorable www.watermilljazz.co.uk with guest compere Barry Cryer. anniversary is the Essex-based Frog Island , 55 years of Tel.: 020 7439 0747 playing jazz. What is particularly striking is the stability of the line-up GATSBY AT THE SHEFFIELD JAZZ www.ronniescotts.co.uk over such a long time. Rob Fullalove, brass bass and band manager, Sheffield Jazz’s Friday evening attributes it to the fact that they are all friends. He is one of two GRAND SERIOUS DATES founder members still playing with the band, John Whitehead On April 1 in Wolverhampton it’s concerts are now normally at Serious is bringing two major jazz () being the other. In addition Chris Marchant has been on the Grand Theatre’s Great Crookes Social Club to the artists to the Barbican. On May drums since 1965 and pianist Keith Durston claims not to Gatsby Night. It’s billed as a party South of the city. The Tom 31 Madeleine Peyroux returns remember when he joined, but knows it was over 45 years ago! Jim night with music from the Harrison Quintet appears on for an additional concert to her Hurd (clarinet) and Brian Lawrence (banjo) are also established Charleston and Black Bottom March 10, followed by the recent tour, this time with John Frog Islanders and John Jeanes joined in 2008, having initially started through the classic songs of the Sirkis/Bialas International Etheridge in support, then on playing revivalist in 1955 and having taken a 40-year to jazz and swing. Michael Quartet (17) and the Tony Kofi June 24 it’s the turn of the Chick sabbatical. Law’s Piccadilly Dance Orchestra Quartet (31). After an Easter Corea Elektric Band, with Eric and the Gatsby Girls head the bill break the season’s programme Marienthal, Frank Gambale, John The band features classic jazz, citing such bands as and audiences are encouraged to concludes with the Hannes Patitucci and Dave Weckl. ’s Red Hot Peppers, Papa Celestin’s Tuxedo Jazz play their part by donning Riepler 4 featuring Chris Cheek Peyroux and Etheridge can also Band and Johnny Dodds’ Blackbottom Stompers as influences, with ‘Gatsby dress’. The following (April 21), the Jay Phelps Quartet be heard at Bath Forum as part a particular reputation for managing to re-create the classic Oliver night Phillip Dyson, concert (28), Denys Baptiste’s Late Trane of the Bath Festival on May 27. pianist and specialist in the music Quartet (May 12) and the Matt Creole Jazz Band recordings with only one cornet! www.serious.org.uk of Scott Joplin and Billy Mayerl, Ridley Quartet (19). One of band has performed successfully in many countries – the commemorates, almost to the club’s occasional promotions at Netherlands, Belgium and Germany, for instance – but gained day, the centenary of Joplin’s the Crucible Studio in association particular success in the – or, more particularly, New death with a programme with Music in the Round sees an Orleans. In 1980 the Frog Island was the only British band at the including Joplin rags and appearance by Jasper Holby’s New Orleans Jazz and Heritage Festival. When they returned in Gershwin’s Rhapsody in Blue. The Fellow Creatures on March 24. 1982, the Mayor of New Orleans conferred the title of International Grand advertises a special JAZZ www.sheffieldjazz.org.uk Tipitina Honorary Citizens on the band. Returning to the city in 1986 and OFFER combining both events. 1988, the band was again received with warm enthusiasm. Tel.: 01902 429212 www.grandtheatre.co.uk

Jay Phelps

Photo by Merlin Daleman

4 THE JAZZ RAG THE JAZZ RAG 5 NEWS UPCOMING EVENTS

LETTER Gunhild Carling Amy Roberts Roberto Fonseca

Dear Jazz Rag Your interesting piece on the BBC Top 50 Jazz albums (Jazz Rag, 144) has reminded me of a similar experience I and many others had with the BBC some years ago, very much in line with Digby Fairweather’s recent correspondence with the Editor of BBC Music. In our case we were pleading for a continuation of programmes on the dance music of the 20s and 30s which had been so popular under the guidance of Alan Dell, Malcolm Laycock and Russell Davies. We were told that there was no longer any interest in such out-of-date music and that was that! I do take my hat off to Digby Fairweather for the polite way he has drawn the attention of the BBC to the fact that so many jazz greats have been omitted from their list, but the assumption must be that there is a complete lack of knowledge and/or interest at the BBC, UPCOMING Conservative Club on March 16. Tom Rainey. High profile British performance space, the Elgar Tel.: 01625 528336 as in the recent past. band Led Bib appears at Room, covers a wide range of EVENTS www.grahambrookjazz.co.uk However, we jazz buffs still have the pleasure of reading Digby’s Newcastle’s Bridge Hotel on styles. Following Chris Ingham’s May 7. tribute to The Jazz of Dudley outstanding covering comments on numerous current CDs, The Boiler Shop in Newcastle Founded in 1981, Stafford Jazz Moore (March 2), the Dominic particularly on the Retrospective label. hosts America’s Hot 8 Brass Society continues its weekly Val Wiseman’s Alldis Trio plays music from the Band on May 8 Chris Wright sessions on Sunday lunch-times tribute, Lady Sings the Blues, new CD, Praeludium, jazz at the White Eagle Club. March 5 complete with all-star six-piece Mill Hill, North London Blaydon Jazz Club meets at the arrangements of a variety of is an exception, being an evening band, kicks off its 2017 season at Black Bull public house, with classical pieces (9). session with New Orleans Heat, Stamford Arts Centre on May 12. Goes to Town (May 7), based on the popular traditional jazz band, forthcoming concerts including a (16) finishes the March Tel.: 0121 454 7020 her released late last year the Jazz Band. Singer but normal service is resumed first visit by Lickety Split (April programme. The concerts resume www.bigbearmusic.com and featuring the music of the Agathe Iracema from Brazil and with the Steve King 16), Alter Ego (May 21) and on April 6 with harpist Tara likes of and Benny New Orleans street musicians (12), Sticky Wicket’s Swingtet duo James Birkett and Bradley Minton, followed by the Ezra Acclaimed Cuban pianist Roberto Goodman. Frog and Henry represent the featuring Chris Gumbley (19) and Johnston (June 18). Collective (13). Finally Sarah Fonseca brings an exciting eight- Tel.: 01908 280800 New World. There are bands the Frog Island Jazz Band (26) Vaughan Reimagined (20) features from all over France, including which, having been founded in Wigan Jazz Club has two special piece band to the UK for three award-winning singer Deelee concerts which, as well as JAZZ FEST – OR FEST the local Brittany band who 1962, can boast an even longer concerts in March. American Dube and the Renato D’Aiello started the festival in 2005, Good history than the club. Kevin trumpeter Bobby Shew plays presenting ‘a kaleidoscope of Quartet. dancing colours’, claim to tell the JAZZ Time Jazz. No festival in France Grenfell’s Jazz Giants (2) kick off with the Dave Newton Trio and www.royalalberthall.com Fest Jazz (July 28-30) is a dynamic would be complete without a the April programme, followed by the Wigan Youth Jazz Orchestra story of Cuban music. Fonseca can be heard playing the music of and distinctive festival in a trio and here it is the the vintage jazz orchestra, the at St. Michael’s and All Angels The Frank Griffith Nonet can his Impulse! album, ABUC, at the beautiful setting in Brittany. Over splendidly named Panique sur la Debonaires Little Big Band (9), Church, Swinley (11), then Ian next be heard at the Karamel Howard Assembly Room, Leeds 100 musicians and 25 groups play Manche, with the brilliant 13- Willy’s Weepers led by Eric Darrington conducts an evening Klub in North London on May (March 10), Warwick University the five covered venues along the year-old Eliot Busca. Nor is the of The Really Useful Theatre in April the world-class ‘Busker’ Newton (16), Richard of WYJO Revisited, with players 25. Before then Frank joins the Leach’s Clubhouse 6 (23 – (11) and the Barbican, London banks of the River Aulne at UK left out, with boogie woogie Group. So named because of its saxophonist and composer Chris from throughout the history of Spin Trio at the Wheatsheaf, pianist James Compton and another evening session) and the orchestra, at Whellet ex- (13). Chateauneuf-du-Faou, admission proximity to Buckingham Palace, Potter goes with the Oxford (March 9) and plays two to all by the purchase of a single Bristol-based blues and rock Christine Tyrrell with Matt Servicemen’s Club (26). the Other Palace brings The Joint Inner City Ensemble, a changing dates in an all-star quartet (John Tel.: 01942 243974 Ricky Cool and the In Crowd can bracelet. Fun is guaranteed for band, Los Yanquis, plus a reduced is Jumpin’ to its Studio Theatre Palmer’s Rhythmic Reeds (30). Pearce, Dave Green, Steve price package deal for British group of the UK’s most May brings two gigs as part of the www.wiganjazzclub.co.uk be heard at the MAC, strollers between stages, with from April 4 to 15. The show is a Brown) accompanying Tina May customers with Festival partners, promising emerging musicians. Stafford Music Festival: an Birmingham, on March 31 and the jugglers, fire-eaters, acrobats and fusion of live jazz, tap dancing and in Tina’s Divas, a tribute Brittany Ferries. The tour takes in Band on the extended lunch-time session with Seven Jazz, at Leeds’ Seven Arts, following evening at the Little informal jazz sessions. Add in a storytelling around the music of Fitzgerald. Tina’s Divas is at the www.fest-jazz.com/english Wall (April 13), Parr Hall, the Pedigree Jazz Band led by chosen as UK jazz club of 2016 Theatre, Doncaster, then at the Food Village and five bars for Fats Waller and is under the Old Town Hall, Hemel Warrington (14), More Music, by Parliamentary Jazz Awards, has Forest Arts Centre, New Milton, good measure! Topping the bill is Chris Walker (7) and the Wabash Hempstead on March 11 and the direction of Hoagy B. Carmichael, daytime sessions on Sunday (early on May 20. Swedish multi-instrumentalist THE OTHER PALACE IS Morecambe (15) and the Jazzmen (14). Guildhall Theatre, Derby, the son of the great songwriter. or late afternoon) and evening Tel.: 0121 454 7020 (, trombone and Alhambra, Bradford (16). Tel.: 01785 226950 following evening. JUMPIN’ Multi-award winner Lilias White gigs on Thursdays. Currently lined www.bigbearmusic.com !) Gunhild Carling and www.bandonthewall.org/events/ www.staffordjazz.org Formerly the St.James’ Theatre, makes her London debut and the up are Watkiss and there is an international bill of chris-potter-inner-city-ensemble The Other Palace re-opened in musical director is singer Michael Tom Harrison with The Music of Southport Jazz Club, formed in As King Pleasure and the Biscuit mostly young upcoming Tuesday Jazz and Swing at February as the newest member Mwenso who leads his seven- (March 9), The 2016 as a successor to Southport Boys approach their 30th musicians. Also from is AT LAST ETTA JAMES Wilmslow Conservative Club piece band The Shakes, including Latin ALL DONE BY 7(12), the Melodic Jazz, presents monthly anniversary, the band’s appetite honours the memory of saxist the South African vocalist Vuyo At Last, the story of the great Glow Quartet featuring Trish jazz at the Bakery within the for European travel remains Fats Waller Brian Smith in an annual We Sotashe. blues and soul singer Etta James, Clowes and Gareth Williams Atkinson. The Oxley-Meier undiminished. Next up in a series Remember Brian concert, this year www.theotherpalace.co.uk already a hit in Australia, is set for (23), the Elliot Galvin Quartet Guitar Project play March 30, of gigs in France is the Potatoes featuring Zoe Kyoti, Terry Brunt a major tour of the UK. Singer (26), Jay Davis: Big Bad Wolf followed by the Cliff Ray Band on Blues Festival in Luneray (April CHRIS POTTER TO Vika Bull is accompanied by the and the Andrzej Baranek Trio on (April 9), The Electric ALL DONE April 27. 1). UK dates in the next two March 7. The Jamie Essential R&B Band in a 12-date BY 7 (23), Dudley Nesbitt with www.theatkinson.co.uk months include Chipping Norton TOUR Brownfield/Liam Byrne Hot Six tour. Starting at the Epstein the Leeds College of Music Jazz Theatre (March 4), Holiday Inn, The Jazz Directors series, are featured on March 14 and The monthly concerts of Opus 4 Theatre in Liverpool n March 28, Orchestra (27) and International Birmingham (30), East Riding organised by Band on the Wall in guest soloists for March and April Jazz Club at the Traveller’s Rest, it takes in Cardiff, Leamington, Jazz Day with the Flycats (30). Theatre, Beverley (April 7), Jam Manchester, is a two year project include Bill Smith and Dave Mott www.sevenleeds.co.uk Darlington, include the Sue Ferris House, Birmingham (13) and the Birmingham, Bristol, Tunbridge supported by Arts Council (March 28), John Hallam and Paul Quintet (May 12), Noel Dennis Carding Shed, Holmfirth (15) Wells, Eastleigh, London, England which brings together Sawtell (April 18) and Amy Jazz North East presents Quintet (Jun 16) and Customs before the band goes on its Norwich, Manchester and Corby emerging musicians with revered Roberts (25). Amy Roberts also saxophonist Ingrid Laubrock’s House Big Band (July 14). travels again. jazz players. In the first series of before finishing at the Apex, Bury features, along with Richard Exall trio Sleepthief at Sage Gateshead Tel.: 0121 454 7020 Jazz Directors trumpeter Terence St Edmunds on April 12. and Tom Kincaid, on Rosie’s Jazz (Apr 29) featuring pianist Liam Late Night Jazz at the Royal www.kingpleasureandthebiscuitboys.com Blanchard was the headliner; now www.atlastettajames.com and Swing at the Cheadle Hulme Noble and American drummer Albert Hall’s flexible 6 THE JAZZ RAG THE JAZZ RAG 7 NAT HENTOFF (1925-2017) NAT HENTOFF (1925-2017) RON SIMPSON recalls the remarkable career of one of the definitive jazz writers, described on Wikipedia as ‘columnist, historian, novelist, music critic’ and by himself, wryly, as ‘a member of the Proud and Ancient Order of Stiff-Necked Jewish Atheists’.

For jazz-lovers of my generation Ethel Waters, Danny Barker (a though – in the way of such where he continued until his the name Nat Hentoff, who died frequent contributor to Hear Me books – the main character was a death. But, the story of his firing in City on January 7th, Talkin’ to Ya), Zutty Singleton, youngster of the same age as the from Down Beat is authentic, immediately calls to mind the Buster Bailey, Carl van Vechten readership. My memories of 30- Hentoff was still unafraid of book Hear Me Talkin’ to Ya, plus and Mezz Mezzrow before a shift odd years ago tell me that the principled controversy : he lost the name Nat Shapiro. In 1955 to other blues singers of the time book combined a readable and his job when he tried to hire an the two Nats produced a and the blues in general, ending convincing story line with strong African-American writer. ground-breaking sort-of-history with magisterial pronouncements liberal principles and that I was of jazz, sub-titled ‘The Classic from Jelly Roll Morton and W.C. surprised by the blurb praising In fact Nat Hentoff’s life was full Story of Jazz as Told by the Men Handy. One of the many Hentoff’s writings on the law, free of campaigning, mostly taking an Who Made It’. It wasn’t strictly delightful things about Hear Me speech, etc. unfashionably liberal stance, oral history, raiding magazine Talkin’ to Ya is that Hentoff and though his opposition to articles and the autobiographies Shapiro trusted the readers to In fact Nat Hentoff, born in the abortion was one of several of the likes of Jelly Roll Morton, have intelligence and think for Roxbury area of in 1925, more conservative causes he Mezz Mezzrow and Hoagy themselves: there were no had a long life packed with adopted with the passing years. Carmichael to supplement the laborious introductions or achievement and controversy. He Free speech was the essential compilers’ own interviews, but it disclaimers about unreliable took his first degree from bedrock of his campaigning as had a wonderful air of evidence. where well as of his life: one of several authenticity, aided by the fact that he resigned from the post of publications on the issue was Hentoff and Shapiro ordered In the 1950s we had seen nothing editor-in-chief of the Northeastern splendidly titled, Free Speech for their material cannily, but never like it; over half a century later News rather than tone down his Me – But Not for Thee: How the intruded with their own it’s still enlightening and taste for raising uncomfortable American Left and Right Relentlessly comments. entertaining in equal measure. It’s questions – he was 18 at the Censor Each Other. In recent years rather surprising that the most time! It did no harm to the secret prisons and state use of The book was arranged in four recent edition seems to have quality of his degree and he went torture were among his targets. parts, from New Orleans to a been a Souvenir Press paperback on to Harvard and the Sorbonne. One would imagine that, at the final section headed Undecided, on 1992, though oddly enough an From his early 20s he worked on time of his death, he was not dealing with musicians such as Italian translation was published radio and as a jazz writer, editing over-optimistic about the state of Monk, Kenton and in 2011 and is still available. the newsletter Counterpoint for a his country. and refusing to shy away from the year and refining his taste for social problem of narcotics. So I was well aware of Nat tackling moral and social issues in A 2013 biographical film about Within each of the four parts Hentoff as a jazz writer – jazz. Richard Vacca wrote in The Hentoff, directed by David L. were maybe half a dozen another book with Shapiro, The Boston Jazz Chronicles: Lewis, rejoiced in the title, The chapters. So, for instance, chapter Jazz Makers, followed in 1957 and Pleasures of Being Out of Step, but 14 was titled – several more solely by Hentoff – ‘He wrote stories that the dailies he was sufficiently in step to ‘Empress of the Blues’ and started and vaguely aware of his wouldn’t touch: for example, he garner any number of awards, straight in with the testimony of association with , wrote about the racially charged including being one of six NEA Frank Walker, talent agent for but the 1980s was the first hint I fracas involving ’s Jazz Masters in 2004 chosen by Columbia Records, ‘I don’t think had of his political and moral band at the Rio Casino in the U.S. National Endowment for there could have been more than hinterland. As an English teacher I December 1946 in Counterpoint’s the Arts, the first non-musician to fifty people up North who had came across an excellent short first issue.....Counterpoint receive the award. heard about Bessie Smith when I novel, one of several Hentoff excerpted parts of an article sent Clarence Williams down wrote aimed (I seem to recall) at written by trombonist J.C. It’s beyond the scope of a jazz South to get her.’ There followed Year 7 or 8 pupils, called Does this Higginbotham and published in magazine to cover all Hentoff’s the recollections of Clarence School Have ? A New Masses, “Some of My Best exploits, from writing the sleeve Williams himself, singer May veteran jazz trumpeter played an Friends are Enemies”, in which notes to The Freewheelin’ Bob Wright Johnson (James P’s wife) important part in the story, Higgy expressed his frustration Dylan to being excommunicated with white liberals who wanted by three rabbis for opposing the to party with black musicians, but Israeli invasion of Lebanon in didn’t want regular social contact 1982. Suffice it to say the jazz with them.’ world has much to be thankful to him for, including his work with When Counterpoint closed for Whitney Balliett as jazz lack of subscribers, Hentoff consultant on the wonderful became the Boston 1957 television programme The correspondent, then an associate Sound of Jazz which included the editor, of Down Beat, initiating intensely moving performance of some 65 years of writing Fine and Mellow by Billie Holiday regularly on jazz for major and . It was good to publications. After Down Beat it read that the old controversialist was for a died surrounded by family and remarkable stint from 1958 to listening to Billie Holiday. 2009, then 8 THE JAZZ RAG THE JAZZ RAG 9 THE JAZZ CENTRE UK THE JAZZ CENTRE UK

Asked about the present state of addition to a Heritage Museum, that jazz is more acceptable to Southend Victoria Station, but the THE JAZZ CENTRE UK affairs, Digby waxed enthusiastic Digby’s plans include an art the young these days than it was opening hours (Saturday 10.00- about the support he has gallery, a comprehensive research in the 40 years following the 4.30) are decidedly limited – Now that the future of the Jazz Centre UK, based in Southend, is confirmed, RON SIMPSON received: centre, a cinema, a library of jazz Beatles. But, as well as the understandable with a volunteer- on film and a Sound Archive generalised aim, there are run organisation. However, as a asked its founder and moving spirit DIGBY FAIRWEATHER about its progress and his hopes ‘I have a Board of six Trustees including everything from 78s to practical dimensions to Digby’s newly-registered charity there is for the project. whose input to the project from vinyl, CDs and downloads. As he Jazz for Youth initiative, including an obligation for longer opening the start has been endlessly explained, that again is a different a Lottery application for £71,000 hours and an anticipated for a local council prepared to think that Humph’s collection generous in practical terms policy from the National Jazz for youth and community Heritage Lottery Fund grant make a commitment to jazz and isn’t a central artefact of our committed, hard-working and Archive: activities. should provide for two paid to try to imagine a small office culture, then sadly we have visionary, and I couldn’t possibly posts to do just that. full of Humph’s desk, a , a widely differing views.” have set any of this up without ‘The NJA concentrates on books, The same with on-line research centre and a film library, them. I also have a team of a journals, photographs and letters, digitisation. The Jazz Centre On a lighter note, Digby – ex- I brought Digby back to the ‘That was the start of several dozen volunteers whose and from the start has left keeps up to the minute with sites librarian in the service of the subject of the National Jazz months of argy-bargy during commitment really is recordings to the National Sound on Mixcloud, Soundcloud and Essex County Council – shares a Archive, not a subject he is which I also had the chance to extraordinary and every week Archive of the British Library. For Facebook, but Southend is still a nice coincidence: especially keen to pursue. His acquire ’s first they come in to work with me spatial reasons this makes long way from many parts of the pride in setting up the NJA, his piano. When I reported this to for a project we all believe in.’ sense for the NJA, but the UK, even if it is only an hour ‘The funny thing is that the room gratitude to Essex’s Library my colleagues (admittedly, with a National Sound Archive is an all- from London by train and has a we have at the moment is the service for its support and his wicked glint in my eye!), fists Digby also provided hard facts music resource which of course flourishing airport! So digitising same one I worked in back in admiration for the excellent were smashed on the table!’ about the project, for example, includes lots of jazz – but at the collection has become a 1973, unpacking boxes of vinyl in work of archivist David Nathan two more collections that have present, for example, doesn’t priority: order to open Southend’s Music and Arts Library. The very one! It seems to be an obvious idea, news of the acquisition of Sheila are set against his annoyance at The upshot was that he re- joined Humph’s desk, collect the “little labels” which ‘The way I see it is that, if people So it would seem that, 40 years even an essential resource, but a Tracy’s taped interviews with what he saw as obstructive applied for Trusteeship which Dankworth’s piano and the rest: from the 1980s were set up by can research our collections on on, what went round for me has jazz centre for the United such great names as Anita O’Day, policies which temporarily set would have given him a vote. His musicians from Humph to him at odds with the Archive – ‘My great friend line, they may one day say, “Hey! come round again, just like the Kingdom has taken its time , and rejection for the third or fourth as they couldn’t and the Lyttelton collection and turned up out of the blue a few We ought to visit this place!” So music.’ arriving. Digby Fairweather, who many others (thanks to the good time seemed to him, not get a deal with any major label. A that Dankworth piano played months ago, then a few weeks we’re prioritising digitisation as a knows about such things, points offices of Diana Lusher, Sheila’s surprisingly, ‘unjustified and huge cultural omission!’ their part in what (stealing a later came in again, this time with great deal of what is most The Jazz Centre UK out that on 1982 a National Jazz executor). insulting’. A ‘summit conference’ term from the Czechs and his father Jimmy’s tenor However optimistic this may valuable in the jazz culture is c/o Beecroft Art Gallery Centre was planned in Floral with the Board and Trustees Slovaks) may be termed a ‘velvet , a beautiful framed sound, practical steps have copyright-free anyhow. And I was Victoria Avenue Street, Covent Garden by the For a more personal view on the followed in January 2016 when divorce’. portrait of Jim and a huge already been taken to bring it to delighted to see that the Southend-on-Sea then ‘Jazz Centre Society’, but state of affairs at the Jazz Centre Digby’s memory of his bid for collection of his dad’s letters and fruition: management at Essex. SS09 6EX came to nothing four years later UK, I turned to Digby peace to break out runs as ‘We’d reached a difficult period photographs! Skid also played for House in Corona, New York, has Tel.: 01702 215169 in what Digby describes as Fairweather, first of all touching follows: in my relationship with the NJA, a us on our Christmas Open Day ‘We plan to have a replica of just made the identical decision. ‘deplorably dubious dealings’. Two on the delicate of the few of its trustees and its along with two more great London’s legendary , the Wonderful!’ Email years later Digby was responsible National Jazz Archive with which ‘I couldn’t be more distressed at chairman. To be blunt, I felt that friends, and Simon oldest jazz club in the UK. We [email protected] for setting up the National Jazz he has been so closely connected what appears to be such as a for various reasons the Spillett and I was able to tell Alan have full architect’s plans drawn Perhaps the most ambitious step Archive which has proved for nearly 30 years: deep discord as to collections organisation was putting itself at that what he’d brought us had up by Robin Crane Associates in in Digby’s crusade is the Facebook invaluable, but has different aims policy in the organisation – www.facebook.com/ ‘We’re talking about the Jazz risk with dubious decision- turned into the foundation stone Esher, Surrey. Robin has produced application for a ‘low capital which, incidentally, I set up and TheJazzCentreUK/ from a jazz centre. making in a wide variety of areas. of our on-line digital archive. £10,000 worth of plans free of grant’ from Arts Council England Centre UK, a totally different opened in 1988 and for which I The crunch came when Stephen charge which gives you some idea for £ ½ million (how is that low?) So what is the Jazz Centre UK project from the National Jazz am now the Lifelong Patron and Twitter Archive at Loughton. The two Lyttelton, Humph’s son, emailed ‘Another great friend, John of his commitment to the project for reburbishment of the and how far has it progressed? Founder. Isn’t there anything we twitter.com/thejazzcentreuk projects are linked by common me to say, “I’m moving to a Bennett, ’s trombonist – and the kind of support I enjoy! premises and new ‘100 Club’ The second quarterly Newsletter can do?’ interest, of course, and also, smaller house in Bristol and sadly from the band’s first gig in 1958 With the constant property build, but a rather smaller scale in December 2016 suggests a Soundcloud strangely enough, by their almost all of Humph’s belongings right up to the day Kenny died in development – or should I say development will, I suspect, be vibrant and optimistic body. This emotional appeal apparently soundcloud.com/ differing collections policies. The – his magnificent roll-top desk 2013, brought in fourteen “destruction”? – in the West End the next crucial step in the Jazz Under the editorship of Bob fell on deaf ears and the user-767909473 Archive precludes a museum where he wrote his scripts, his exquisite computer-based no one can be sure how long our Centre’s impact on the jazz Michalski there are plenty of inevitable result was that in June function in its policies (even horns and around nine decades scrapbooks detailing the whole beloved 100 Club will be there. world in general. Despite the incidental pleasures, from Simon The Jazz Centre UK was www.thejazzcentreuk.co.uk though it actually has a tiny one) of his scrapbooks, public and life of the Ball band plus nine So we intend to re-build it at the positive note of the TJCUK Spillett’s column to a page of constituted as a separate Newsletter, there is one obvious while we at the Jazz Centre most private correspondence and DVDs containing everything the Jazz Centre and my dear friend, Anyone wishing to receive poetry, but the most important organisation and charity rather weakness at the moment. The definitely have our eyes on a full much else – will have to go on a band played on radio and Roger Horton, who was the the Newsletter as an On-line parts are the frequent indicators than what it was premises at the Beecroft Art Heritage Centre and already have skip in the next few days!” So the television – as well as his own club’s director for years, has Friend of the JCUK should of vigorous life down in intended for as an outpost of the Gallery may be conveniently the complete Humphrey very next day I told my friends at unpublished autobiography. That given us lots of club memorabilia email [email protected] NJA. Whilst it’s unfortunate that Southend. The list of Patrons Lyttelton collections, the Southend Borough Council and sort of thing is absolutely central already and promised us located three minutes walk form could hardly be more impressive: of Louis Armstrong and they provided a van. We drove up so many well-intentioned people to our celebration of Heritage – everything else if the club does Dame , Sir Michael , ’s to see Stephen in the Forest of should have gone through such a and in John’s case it might have to close in the future.’ Parkinson, , tenor and even Sir John Dean, collected everything just in painful split, many jazz fans will tragically have been his final , Simon Spillett, Paul Dankworth’s first piano. But all of time and brought it back to our feel we’re getting the best of legacy as two weeks later he was Ideas for the Jazz Centre bubble Jones, Sir and Alan them are in a small office which Southend department which I’d both worlds. As Digby put it, in intensive care with pneumonia. out of Digby. Some are Barnes. Funds are being raised by already houses a research centre originally set up as additional Fortunately he’s out and well generalised, like the need for it to events such as an Evening with and a very big library of jazz and space for the NJA’s duplicate ‘To be honest I was deeply again now – a great relief, but I deal with ‘now’ as well as ‘then’. in December blues on film! So we needed to stocks. I told my colleagues on relieved. We have the opportunity think a lot of jazz musicians and Heritage is essential at a time and planned concerts by Chas expand to do the job properly – the NJA Board and – to my and the space to do a lot more jazz fans worry about what will when jazz culture could end up in and Dave, Van Morrison and Paul and I’m delighted that we’ve had absolute astonishment – they than the NJA can, so they can happen to their musical legacy or what Digby rather dramatically Jones in 2017 – and, hopefully, by full approval from Southend turned round and said, “What do concentrate on their chosen precious collections of books and calls a ‘universal cultural skip’, but grants from Arts Council England Borough Council to do so over you think you’re doing? We speciality and we can spread our records after they’ve gone –and ‘now’ must be represented by and Heritage Lottery Fund. the next ten years.’ should have been consulted wings in all sorts of other area. now we can provide the answer.’ activities – performances, Indications of the healthy state of first!” My response was, “There And I feel sure that, now the workshops, lectures, movies – the collections are everywhere, Pausing to register my admiration wasn’t time to get everyone’s divorce is through, we’ll be much The long-term goals for the Jazz that reach out to the young. including, among much more, permission – and, if you don’t better friends!’ Centre are certainly ambitious. In Digby claims, probably correctly, 10 THE JAZZ RAG THE JAZZ RAG 11 THE LAST OF THE GUNSLINGERS? INTAKT AT THE VORTEX THE LAST OF THE GUNSLINGERS? INTAKT AT THE VORTEX RON SIMPSON questions whether the days of the itinerant jazz soloist are in fact over. From April 16 to 27 London’s Now living in Switzerland, his list Niggli and Bronnimann) is Vortex Club hosts a remarkable of albums for Intakt includes rejected by Patrik who reckons Ingrid In the Christmas issue of the Jazz Brownfield, values his association Let’s look at a couple of Not that Alan is an uncritical fan festival dedicated to the music of several with the London Jazz that about a third of Intakt’s Laubrock Centre UK Newsletter Simon with saxist Liam Byrne so much examples. Last year’s Birmingham of session situation: Zurich’s Intakt Records. Composers’ Orchestra. artists are Swiss – and he is Spillett headed his column: Dead that they co-lead two groups in and Solihull Jazz Festival had, on Concerts each evening consist of particularly proud to have some Gunslingers: Is it time for jazz to let different styles, each, I think, with my reckoning, , Bruce ‘Jam sessions can be great or at least double bills, some During the festival Barry Guy major talents from the United go? As Jazz Rag readers know, a regular personnel. Saxophonist Adams, Dave Gelly, Digby dreadful. Supervised ones are presenting as many of four celebrates his 70th birthday and States on the label, David Murray, Simon is an astute, balanced and Alexander Bone, who hoovered Fairweather, Jerry Senfluk, Julian better: shorter solos, improvised different groups or performers. the first evening is devoted to now domiciled in , Reggie prodigiously knowledgeable up most of the 2016 awards for Marc Stringle and Robert Fowler, backings and riffs make it more As Patrik Landolt of Intakt celebrating that, with Guy Workman and Oliver Lake. appearing in four different commentator on jazz as well as young jazz musicians, operates in addition to Messrs. Spillett and interesting for the listener – the explains, the label had similar settings. With violinist Maya being one of our top with another young star, Rory Barnes, playing as soloists with person we’re playing for! The exposure in New York four years These Americans are not on the ago when, at John Zorn’s Homburger he re-visits his saxophonists, so anything he Ingham, in a regular group, Jam . Now there were more contrast between the bill for The Vortex, but a writes has to be taken seriously, two things operating in their invitation, Intakt took over the ancient music heritage, exploring saxophonist very familiar to Experiment, though of course the soloists the better. I remember but I was not the only one to need for regular work is not so favour. The rhythm sections were programming for two weeks at the ninth century hymn Veni London audiences, now hitting sitting in with Willie Garnett and wonder whether this time he pressing while they are at college. excellent, not only ‘national’ The Stone, described as ‘a not for Creator Spiritus and Heinrich Ignaz the headlines in New York, makes Art Themen and we got some took his argument to some very figures such as , Dave profit performance space Franz Biber’s rosary sonatas as two appearances on April 22 and lovely three-part harmony things debatable conclusions. To be fair, Simon’s article moves towards Newton, and Simon dedicated to the experimental well as contemporary music. The 23. Ingrid Laubrock was born in going – a real joy to be part of it the very title invites debate! controversy when he describes Thorpe, but locally based and avant garde.’ Howard Riley Trio is described as Germany and launched her his volte-face away from musicians such as Keith Bill, John and the audience loved it!’ the group that took the piano career in London, but has been An initial reaction to Intakt’s trio into the realm of free Simon begins, ‘I think it was the favouring the gunslinging Patrick and Malcolm Garrett. And based in New York for nearly a Louis Moholo Moholo is only As Alan points out, that worked catalogue might also use words exploration, then it’s back to duo late who coined the approach to favouring playing sometimes the rhythm section decade. She plays at the festival one of a dozen or so drummers because all of them are unselfish like ‘experimental’ and ‘avant format, with legendary saxist term “gunslinger” to describe the only with trusted fellow- would bed in over maybe four with the trio (Liam Noble and at the festival. Asked what travelling jazz soloist, the lone players – and that really is the garde’, but Patrik stresses the Evan Parker, before the final trio musicians in set situations. Do gigs with the same soloist. Tom Rainey) who worked with features will surprise London character who pitches up in key to his response to Simon’s importance of tradition in the set unites Guy and drummer you have to favour one or the her on the award-winning album, audiences, Patrik cites the Swiss town to essay a night of well- Or, to take a quite different argument. His summary of the music: Lucas Niggli from the Riley Trio other? Do we want to return to Sleepthief, and then in a duo with drumming tradition. Perhaps the tried and tested standards with jazz wars as futile as the old mod example, Tuesday Jazz and Swing with saxist Jurg Wickihalder. situation of guest Japanese pianist Aki Takase. most remarkable example of this the local rhythm section. Those v. trad rubbish? at Wilmslow Conservative Club ‘The scope of our music is great, soloist/supporting rhythm section is two concerts by Pierre Favre who made this modus operandi may occasionally offer a set band based on the jazz tradition. All The following evening Niggli is in makes it sound a much more One of the features of the festival where other instruments are work for them include such Simon is to be praised for such as the Brownfield-Byrne this comes from America, in the action again, with saxist/bass collaborative and equal process. is the ingenious and creative omitted and the drums have to notables as (in the USA) Zoot provoking discussion, but I feel he Hot Six, but goes along quite meeting of African Americans and clarinettist Jan Galega For a start he’s none too keen programming that gives audiences explore the whole sound palette. Sims and and (over slants the evidence. He refers to nicely on a diet of regular trusted white Americans. Then in the Bronnimann and Aly Keita. As on the word ‘gunslinger’ which the chance to hear the same Pierre Favre Drumsights (with here) the late, much-missed Dick the old ‘bad amplification/pub local piano trios and visiting 1970s and 1980s different types Patrik explains, Aly Keita plays the implies, in his words, ‘a bit of a musicians in different settings: Aki fellow drummers Valeria Zangger, Morrissey, each one a performer jazz/door money/bands-made-up- soloists on their own or in pairs, of music had an influence, balafon, a wooden xylophone blood-letting’. He admits that Takase goes on to play in a duo Markus Lauterburg and Chris who could make profound, high- of-whoever-is-available a fair few of them local, but many including European classical from West Africa which sounds there are some soloists with another saxophonist, Rudi Jaeger) is followed by a solo set standard music in spite of traditions’. This seems to imply with a national reputation – Amy music. Jazz is an open music and not unlike the marimba. Coming (unnamed) for whom ‘bringing Mahall; Evan Parker appears in whatever else was going on that local rhythm sections are Roberts, , John everyone fights for different from a family of balafon players in from Favre. out the limitations of the trio various different groups; and then around them. Players like that are bad rhythm sections. While I am Hallam, Roy Williams, music.’ Cote d’Ivoire, he has developed there is Louis Moholo Moholo! Other big names appearing on an genuine rarities, but gigs of this sure that Simon, as all itinerant of course – and even the odd behind them is part of the show. the balafon, with new scales and One of his appearances is with excitingly complex and varied type still exist, providing work for soloists, has had evenings where visitor from the land of the If you want to play an obscure Intakt Records was founded by half notes, to give it the flexibility pianist Irene Schweizer, an event programme include, among many current UK soloists including the the disasters start early and gunslinger, with Greg Abate ballad it’s more productive to Patrik Landolt in 1984 and is to adjust to Western music, that Patrik sees as of significance ubiquitous Alan Barnes (who never stop, I would dispute any something of a regular. provide a part rather than stand described on its website as a blending traditional African others, pianist Alexander von morally and politically as well as always makes such performances suggestion that the majority of there expressing incredulity that small independent label, but has repertoire with jazz and Schlippenbach who plays a solo musically. In the 1986 Zurich Jazz a success) and yours truly (who supporting musicians are other It seems to me that, like Mark the trio has never heard of it.’ issued more than 250 albums. improvisation. Though both Niggli concert of ’s Festival South African music was doesn’t).’ than capable – or better than Twain’s death, the demise of the Among the first artists to record and Bronnimann were born in music, singer Maggie Nicols, a main strand of the programme. that! ‘gunslinger’ has been This is how Alan sees working for the label was British bassist Cameroon, growing up with the saxophonist Trevor Watts, the The concert by Schweizer and Nothing to argue with there, exaggerated. However, for more with local musicians of different Barry Guy, with a 1986 release of rhythms of West Africa, they are piano/ duo of Sylvie Moholo became a protest against except for Simon’s too modest Then Simon cites a rather expert testimony than mine, I styles and talents: compositions by him and now Swiss citizens. Courvoisier and Mark Feldman assessment of his own wonderful thing: Nigel Price is turned to Alan Barnes, cited by Anthony Braxton. Barry’s musical apartheid and also the Zurich and the groups Noisy Minority bankers who colluded it with it. performances. And certainly he is engaged on an ambitious 56-date Simon as one of the last of the ‘There are great players all over background includes working Any suggestion that Intakt’s (led by Omri Ziegele and with The Intakt album, Free Mandela, correct to ask where the new tour with his excellent trio. gunslingers, but – it should be the UK and to assume musical with early music groups such as artists are mostly Swiss, either by trumpeter Percy Pursglove) and documents this event. Schweizer ‘gunslingers’ are. His picture of a Impressive as this is – and it is remembered – a man who has superiority can be dangerous! The Academy of Ancient Music. birth or relocation (like Guy, Christoph Irniger’s Pilgrim. and Moholo also team up with jazz scene where the younger amazingly impressive – I can’t see also put together many tours, I’ve guested with traditional Zurich-based saxophonist Omri In these days when the record jazz players all earn their livings it as a blueprint for all bands, though not of 56 dates, with bands that had lots of tunes I Barry Guy Ziegele under the name of industry is so hard-pressed, it’s through teaching posts so that especially those with more than hand-picked groups playing his didn’t know and played with they have no financial imperative Where’s Africa. Singer Sarah good to find a label as buoyant as three members. No matter how arrangements/compositions. To young piano players that know in their playing and can play jazz hard they work on the bookings, Alan it is not an either/or Buechi is another to be Intakt. Releases over the past few more and Wayne ‘largely with those they choose 56-date tours are not an option situation: presented in different settings. months have included two Shorter than I do or could leave to work with’ is over-generalised, for most bands unless you count Accompanied by an oddly albums by Ingrid Laubrock, with me standing in 7/4. I think the but not totally inaccurate. For as a tour all the gigs for one year ‘Presenting your own music conventional line-up of different groups, a collaboration instance, let’s take three young – or two! played by your favourite skill in all this is finding common piano/bass/drums, Sarah presents between Aki Takase and David musicians who have made an musicians is the best feeling in ground and playing differently in music from her Intakt CD, Murray and the Schlippenbach impact recently. Trumpeter Laura However, it’s Simon’s conclusion the world, but there is also every situation without losing Shadow Garden, but has also been Trio’s Warsaw Concert featuring Jurd has tended to lead named that I would take most issue nothing like jumping into the your identity.’ paired with fellow-singer Lauren Evan Parker and drummer Paul groups of known associates, with: ‘dead is the day of the unknown with players you hardly Kinsella and cello and bass Lovens (who play The Vortex on currently Dinosaur, which, as I gunslinger’. Times are changing know and having to come up And that seems fair enough. If the . Buechi and April 21). write, has an 18-date tour and he is rightly drawing with something. I hope guest gunslinger’s dead, let’s hope Kinsella have both studied South Photo by planned for January-March. attention to those changes, but soloing and jams will always be there’s plenty of life in the Indian music in Bangalore while www.vortexjazz.co.uk Francesca Pfeffer Another trumpeter, Jamie dead? part of the scene.’ collaborative soloist! sharing links with Dublin. www.intaktrec.ch 12 THE JAZZ RAG THE JAZZ RAG 13 ELLA TURNS 100 ELLA TURNS 100

passing, she was recording as the 1954, found her mostly sticking ELLA TURNS 100 leader of her ‘Famous to the words and melodies in Orchestra’. This venture lasted interpretations that were quietly SCOTT YANOW celebrates a notable centenary. for two years before she officially emotional. launched her solo career. contest. It led to her singing novelties and ballads. On During the 1950s and for much briefly with Tiny Bradshaw’s numbers such as When Dreams Although it was not of the next decade, Ella was at orchestra and getting an audition Come True and I Want To Be Happy, at the start that the peak of her powers. She with . Ella showed that she already had would have a successful career, started appearing in movies However Henderson was put off the ability to swing joyfully she had a solid contract with the including, most notably, 1955’s by her appearances (which although her scat-singing would Decca label, her popularity was Pete Kelly’s Blues (which included included wearing worn out not develop for a few more gradually growing and, most a memorable version of Hard importantly, she worked hard at Hearted Hannah) and as a drug clothes due to her poverty) and years. You’ve Got To Swing It (later developing her singing. The addict-singer in Let No Man Write passed on her. Benny Carter had renamed Mr. Paganini) became a juvenile novelties were dropped My Epitaph (1960). Her been in the audience at the permanent part of her repertoire in favour of swing standards, recordings for Decca, although Apollo and told that in 1936, a year in which she also ballads and blues. Her voice grew they included a few throwaways he should sign her up. Webb was guested on record dates with in its beauty and perfection; did that were attempts at hits, were also not impressed by her and Benny she ever sing a note out of tune? generally quite good and appearance but gave her a chance Goodman’s orchestra. Ella led In 1946, when singers began to underrated. She continued one night. When Ella performed, her first record sessions the take over the pop charts from touring with Jazz At The the audience became quite following year, using a small group swing bands, Ella showed that she Philharmonic and started enthusiastic about her spirited taken from the Webb band.. With singing and Webb hired her. could expertly straddle the two appearing as a regular guest on her recording of A-Tisket, A-Tasket worlds of jazz and pop. She had television. However Norman Within a year, she was the band’s in 1938, Fitzgerald had her first main attraction. her first recorded duets with Granz had more ambitious plans When confronted with the performed a complicated phrase giant hit and it would always be Louis Armstrong (You Won’t Be for her. in perfect harmony (to the her trademark song. Her vocal recordings and performances of Ella Fitzgerald made her Satisfied and The Frim Fram Sauce) surprise of both), she and Getz version of Undecided from 1939 Ella Fitzgerald, several questions recording debut with Chick and impressed so In 1955, Granz persuaded her completed each other’s phrases, would also be very popular. come to mind. Could anyone Webb on June 12, 1935 as an 18- much with her performances that not to renew her contract with and she won a battle with outswing her? Was anyone a year old with I’ll Chase The Blues he began using her on his Jazz At Decca and to instead become a Lockjaw. When the always- Chick Webb, who had shaky more exciting and inventive scat- Away. The majority of Webb’s The Philharmonic tours. Granz major part of the new label that competitive Eldridge hit a health throughout his life, died at singer? Did anyone else have a recordings during the next four eventually became her manager. he had formed with her in mind, screaming high note, Ella ended the age of 30 in June 16, 1939. friendlier voice? And who else years featured her vocal. From Inspired by and Dizzy Verve. In addition to combo their confrontation by singing Immediately it was decided to has sung definitive versions of the start, her joyful singing was Gillespie (she toured with his big dates and other projects perfectly in rhythm, ‘You ain’t over 100 standards, as opposed infectious and very appealing. She keep his band working with Ella band in 1947), she became a (including three memorable duet going to ruin my voice tonight to a dozen? One could come up added variety and commercial as the leader even though others masterful scat singer. Her albums with Louis Armstrong), Ella In Hollywood, one of her most home for the remainder of her with that note!’ with a few candidates for one or appeal to Webb’s band, mostly (at first Teddy McRae) would recordings of Lady Be Good, How Granz featured Ella on lengthy jazz-oriented records. On the live career. She had opportunities to two of these questions, but it performing both juvenile actually be the musical director. High The Moon and Flying Home songbook sets that focused on set, Ella takes her longest-ever record with everyone from Ella Fitzgerald had come a long would be difficult to come up Within 13 days of Webb’s were very popular in the jazz the work of major songwriters. recorded vocal on Take The ‘A’ , all-star bands and way from her very humble with any singers (other than world but she also showed that During 1956-62 Ella recorded Train, scatting on all but a few to duets with beginnings. She was born in perhaps Louis Armstrong and she could lightly swing a standard albums of the songs of Cole choruses for nine very inventive guitarist . 55 in 1972, Newport News, Virginia on Apr. ) who can compete in a way that appealed to a much Porter, the Gershwins, Rodgers and exciting minutes. If she had Ella’s voice and health would fade 25, 1917. Her early life, which she with Ella in all four areas. wider audience. and Hart, Duke Ellington, Harold only been documented on that gradually during the next 15 rarely ever spoke about, was in Arlen, and lyricist one performance, it would have years. Her range shrunk in the Do yourself a favour and go out ways as dark as Billie Holiday’s. A household name by 1944, Ella . With the been sufficient evidence that she 1980s and her voice was not as She grew up very poor and was of your way to hear Ella’s version never had an off period. In exception of the Ellington project was one of the all-time greats. steady as it had been but she homeless for a year as a teenager. of C Jam Blues from June 2, 1972, contrast, her private life was (which matched her with Duke’s never lost her superb timing and To say that she was unsure about recorded for the Pablo label at unremarkable and sometimes big band and an all-star group The 1960s and ‘70s were a her ability to swing. Her last her future is an understatement. the Santa Monica Civic. The lonely. She was married to Ray that included and constant whirlwind of activity. recording, 1989’s All That Jazz, is a However Ella handled her life in a concert was originally supposed Brown during 1948-52 (they Stuff Smith), these were Norman Granz sold Verve in late- bit weak but still worth hearing. much different fashion than Lady to feature the singer and Count would remain friends in later orchestral dates on which Ella 1960 but Ella remained with the Day. While Holiday was Basie’s orchestra but producer years) and she had a brief second sang fairly straight, sticking to the label through 1966. While Ella Fitzgerald retired altogether sometimes practically Norman Granz surprised marriage but in general her life lyrics while giving the music a popular music continued to in the early 1990s and passed autobiographical in her away on June 15, 1996 at the age everyone by also inviting an all- was her music. She travelled, gentle swing. When singers in advance and change, Ella tried to interpretations of lyrics of 79. In the 21 years since, no star group of Jazz At The performed and recorded later years wanted to know how stay current by including some (particularly by the 1950s), Ella singer has taken her place or Philharmonic musicians including constantly, somehow never a certain song went, they were pop songs including ’ lost herself in her music and hid reached her level, and one doubts Oscar Peterson, , sounding tired or erratic. safe in emulating and studying Can’t Buy Me Love (which she her private life from the public. that anyone ever will. She Harry ‘Sweets’ Edison, Ella’s songbook recordings. swung), Sunshine Of Your Love and She loved singing so much that remains The First Lady Of Song and Eddie ‘Lockjaw’ Davis. To It was always difficult for critics even Hey Jude but those were that was almost enough to fill up on the 100th anniversary of her climax the exciting night, for an to find anything to criticize in A highlight of this period was her unnecessary. Her fans still wanted her life. birth. There is only one Ella. encore everyone joined in on C Ella’s singing. Her one fault was 1960 Berlin concert (available as her to perform classic material considered her lack of emotional Ella In Berlin). While it was being and that remained the bulk of her Jam Blues. Ella scatted wildly, the Early on Ella hoped to become a depth because her singing was recorded, she forgot the words repertoire. Her Capitol The author of The Jazz horn players (plus trombonist Al dancer and in 1934 she signed up usually full of joy. But even that to . Instead of just recordings of 1967-68 were Singers and a lifelong Ella Grey) took short solos and Ella for the Apollo Theatre’s amateur criticism was a bit unfair for she scatting, she made up new lyrics generally forgettable but Fitzgerald fan, Scott Yanow traded off individually with each contest as a dancer. But at the could sing a lowdown ballad or on the spot that have to be heard listenable as were her Reprise (www.scottyanow.com) can of the five horn players. In all of last minute due to stage fright blues on the level of most, really to be believed. Included are albums of 1969-70, but Norman be reached at the cases, something very she spontaneously decided to digging into the words. Her first stanzas about her forgetting the Granz would again save the day. [email protected]. spontaneous and humorous switch to singing, performing Judy songbook, a set of Gershwin words and how she was making a occurred. Ella imitated Grey’s in the style of her early idol songs performed as duets with wreck of the song. Another In 1972, Granz formed the Pablo trombone, she and Edison Connie Boswell, winning the pianist Ellis Larkins in 1950 and album that needs to be heard is label which became Ella’s musical 14 THE JAZZ RAG THE JAZZ RAG 15 2016 AWARDS THE JAZZ RAG TOP TEN BOOKS THE JAZZ RAG TOP 20 THE JAZZ RAG TOP TEN BOOKS UK JAZZ CD SALES CHART UK JAZZ BOOK BESTSELLER CHART 1 A MULTITUDE OF ANGELS ECM Records 1 HOW TO LISTEN 6 JAZZ THEORY 2 & CHANGE OF SETTING Harkit Records TO JAZZ Dariusz Terefenko PAUL GONSALVES Ted Gioia (Routledge) 3 & TIME/LIFE Impulse! THE LIBERATION (Perseus Books Group) MUSIC ORCHESTRA 4 LIVE IN LONDON Ubuntu Music 5 TAKE ME TO THE ALLEY ZAPPA AND JAZZ 6 HARRY ALLEN’S ALL THE CANDY MEN Arbors 2 7 STAR NEW YORK Geoff Wills SAXOPHONE BAND ) 7 THE BLOWIN’ THE BLUES AWAY Classic Jazz (Penguin (Troubadour Publishing) QUINTET FEATURING 8 CHRIS THILE & CHRIS TILE & BRAD MEHLDAU Nonesuch Records BRAD MEHLDAU

9 NATIONAL JAZZ NATIONAL JAZZ ENSEMBLE FEATURING Dot Time Records THE BLUES: BILLIE HOLIDAY ENSEMBLE FEATURING 3 8 GERRY MULLIGAN A VERY SHORT John Szwed INTRODUCTION 10 E.S.T. E.S.T SYMPHONY ACT Music (Windmill Books) Elijah Wald 11 TUBBY HAYES INVITATION Acrobat Music () 12 LOUIS ARMSTRONG THE GREAT CHICAGO CONCERT 1956 Essential Jazz Classics 13 DINOSAUR TOGETHER, AS ONE Edition Records

14 & UNRELEASED ART VOLUME 9: AT DONTE’S 1974 Widow’s Taste MILES CONVERSATIONS WAYNE MARSH 4 9 IN JAZZ 15 COUNT BASIE & COMPLETE LIVE AT THE CRESCENDO 1958 Phono Records HIS ATOMIC BAND (Picador) R J Gleason 16 ELECTRIC BATH Columbia (Yale University Press ) 17 THE DEREK NASH YOU’VE GOT TO DIG IT TO DIG IT, YOU DIG? Jazzizit Records ACOUSTIC QUARTET 18 STAN GETZ QUARTET 1960 LIVE IN AMSTERDAM Fresh Sound Records HISTORY OF JAZZ I PUT A SPELL 19 JACK TEAGARDEN & ALL STARS IN CONCERT: MANCHESTER FREE Upbeat 5 10 TRADE HALL 1957 Ted Gioia ON YOU 20 THE SONS OF SAUTER THE SONS OF SAUTER FINEGAN Fresh Sound Records (Oxford University Press) FINEGAN (Da Capo Press)

This chart is compiled from sales in the following record stores Chart information supplied by Blackwell’s Bookshops. Stores nationwide, including: Blackwell's Edinburgh 53-62 South Bridge, Edinburgh, EH17 8BQ 0131 622 8222 CRAZY JAZZ, Northampton www.crazyjazz.co.uk 01604 315287 Mail Order - www.crazyjazz.co.uk/main/orderform.pdf Blackwell's Oxford 45-51 Broad Street Oxford OX1 3BQ 01865 792 792 MUSIC INN, Nottingham www.musicinn.co.uk 0115 9470754 7-11 West End Arcade, NG1 6JP Blackwell’s Holborn 50 High Holborn, London WC1V 6EP 020 7292 5100 RAYS JAZZ AT FOYLES, London www.foyles.co.uk/rays-jazz-classical-music 020 7440 3205 107 Charing Cross Rd, WC2H 0EB Heffers 20 Trinity Street, Cambridge CB2 1TY 01223 463 200 SOUND KNOWLEDGE, Marlborough Facebook: Sound Knowledge 01672 511106 High St, Marlborough SN8 1LT And online at www.blackwells.co.uk

16 THE JAZZ RAG THE JAZZ RAG 17 JAZZ AND BLUES FESTIVALS MARCH-JUNE JAZZ AND BLUES FESTIVALS MARCH-JUNE

TAKING OVER THE TOWN KIRKCUDBRIGHT RIBBLE VALLEY JAZZ JAZZ AND BLUES FESTIVALS MARCH-JUNE The Newcastle-under-Lyme Jazz Festival (May 26-29) is one JAZZ FESTIVAL The Ribble Valley Jazz and of those that fills the bars and restaurants of the town for a lively (JUNE 8-11) Blues Festival (April 27- SWANAGE BLUES VENTURE AWAY JAZZ Bank Holiday weekend. Apart from the music the festival is home to May 1) brings a huge variety JAZZ IN COLSTON HALL The international element is a record fair on Sunday and a kids’ fun day and charity market on of jazz and blues into the town FESTIVAL WEEKENDS In only four years Bristol International Jazz and Blues Festival provided by Thomas L’Etienne Monday. Featured bands include the Whiskey Brothers and the Jake of Clitheroe, with some 15 (MARCH 2-5) (MARCH 4-6, MARCH 31- (March 16-19) has built a reputation for its variety of programming and Uli Wunner from Germany Leg Jug Band, while a special event at the New Vic Theatre in Stoke venues including the Castle 60 gigs in 15 indoor venues as well as the quality of the music. This year the Colston Hall is as and Harry Kanters from Holland. APRIL 3) celebrates the festival: a concert by Ronnie Scott’s All Stars on Atrium and the Grand, plus include sets by Billy Boy usual filled with concerts, formal and informal, and workshops, with Otherwise there are planty of Venture Away’s Jazz Weekends at June 1. open-air stages. The 2017 Miskimmin’s Mercy Lounge, a bill including Macy Gray, Bobby Shew remembering Dizzy, British favourites: Jake Leg Jug the Royal Bath Hotel, www.newcastlejazzandblues.co.uk programme brings upcoming Backwater Roll Blues Band and Dinosaur, Alan Barnes and Gilad Atzmon’s Lowest Common Band, Savannah Jazz Band, Spats Bournemouth and the Royal bands such as Jam Experiment Catfish. Denominator, Robben Ford and many others, including the return Langham, Dime Notes and many Hotel, Scarborough, feature five Whiskey Brothers alongside established stars www.swanage-blues.org of Ricky Riccardi with a presentation on Louis Armstrong. others. bands each including the Dart such as . www.bristoljazzandbluesfest.com www.kirkcudbrightjazzfestival.co.uk Valley Stompers and New Other big names on the bill CONGLETON Orleans Heat (Bournemouth) Dizzy Gillespie are Soweto Kinch, Nerija, Jay UNPLUGGED and Matt Palmer’s Millennium JAZZ BY THE SEA Phelps, Get the Blessing and Eagle Jazz Band and John Shillito’s (MARCH 3-5) FESTIVAL Jazz Jamaica. Select Six (Scarborough). (JUNE 11-17) www.rvjazzandblues.co.uk A three-day community jazz and www.ventureawaymusicweekends.co.uk blues festival in a dozen town Formerly the Bournemouth Jazz centre venues, with Elvis Festival, Jazz by the Sea extends Norma Fontenot, the Rumblestrutters DEREHAM BLUES its scope to Poole where the Winstone and Beartown Ukes among the FESTIVAL opening concert will feature artists appearing. (MARCH 6-9) Clare Teal and at the www.congletonjazzandblues.co.uk Lighthouse. The festival’s opener features Photo by Merlin Daleman Andy Fairweather-Low and the www.bournemouth.co.uk WARNER JAZZ Low Riders in a special concert KESWICK JAZZ AND BLUES ON THE BAY in Dereham Memorial Hall. PORTHCAWL JAZZ THE FESTIVAL OF SUMMER JAZZ PARTY, BREAKS BLUES FESTIVAL (MAY 25-30) (MARCH 3-6, APRIL 21-24) www.derehambluesfestival.co.uk FESTIVAL VINTAGE NORTH MILL RYTHE (MAY 11-14) The Guinness-sponsored festival Pete Lay introduces weekends of (JUNE 16-19) (APRIL 7-9) (APRIL 22-23) The 26th Keswick festival has an at Warrenpoint in Co. Down is traditional jazz with four or five SEACROFT HEMSBY Pete Lay hosts this weekend at Bands appearing at five venues in The festival features all sorts of impressive line-up, full of old headlined by Van Morrison and bands, including the Savannah Jazz NEW ORLEANS JAZZ Hayling Island, with his own the vicinity of the Esplanade and vintage objects, from fashion to favourites and new talents, Mud Morganfield, with the Bluez Band and John Maddocks Gambit Jazzmen and Dave CRAIG AS FESTIVAL Fairground include the James cars, so naturally the music of the including Jeff Barnhart, Katz and the Grainne Duffy Jazzmen, at the Sinah Warren Stradwick’s Sussex Jazz Kings. (MARCH 10-13) Taylor Quartet, Room to Groove 1930s-1960s gets a look in, with Maddocks/Huxley Reeds among a huge list of bands PRESIDENT Coastal Hotel in Hampshire www.millrytheholidayvillage.com Malc Hurrell’s Jazz Conscripts and the Rumblestrutters. the Jive Aces among the Unlimited, Remi Harris, Enrico featured. President of the Budleigh (March) and the Norton Grange www.porthcawl-jazz-festival.com are among the bands featured at performers. Tomasso, John Hallam/Amy www.bluesonthebay.co.uk Jazz Festival (April 21-23) Coastal Village on the Isle of www.festivalofvintage.co.uk THAXTED FESTIVAL the Seacroft Holiday Village at Roberts, and many more. is Craig Milverton, so it is not Wight (April). Hemsby in Norfolk. NANTWICH JAZZ, www.keswickjazzandbluesfestival.co.uk LYME REGIS JAZZ AND (JUNE 23-JULY 26) surprising to find him taking a www.warnerleisurehotels.co.uk CITY OF DERRY JAZZ This festival of four weekends www.richardsonsholidayvillages.co.uk BLUES AND MUSIC BLUES WEEKEND prominent part in the does not specialise in jazz, but programme, notably in the FESTIVAL & BIG BAND FESTIVAL MARGATE ROCK AND (MAY 26-29) (APRIL 27-MAY 1) has a few excellent concerts final concert when the (APRIL 13-17) BLUES FESTIVAL Bank Holiday Weekend sees a featuring the likes of Tim Kliphuis Milverton trio is joined in a Headlining the 16th City of The 21st Nantwich Festival is (MAY 14) programme of jazz and blues in and Clare Teal with her trio. tribute to Jazz at the Phil with Derry Festival is a concert at the particularly strong on female A one-day festival in the Winter seven pubs and restaurants in the www.thaxtedfestival.org.uk Enrico Tomasso, Ian Bateman, SAGE FESTIVAL Millennium Forum on April 30 singers, with Elaine Delmar, Ruby Gardens is headlined by Dr historic resort. Alan Barnes, Martin Dale and The Gateshead International Jazz Festival (March 31- April with Imelda May. Turner and Connie Lush. Also Feelgood, Eddie and the Hot www.lymeregisjazzfestival.co.uk 2) is splendidly accommodated in the various halls, rooms and www.cityofderryjazfestival.com LOVE SUPREME JAZZ Lee Gibson. The event in starring are Nearly Dan and Rods and John Otway. foyers of the Sage Gateshead. As well as talks, workshops and FESTIVAL Budleigh Public Hall begins Geno Washington. www.margaterock.com RED ROOSTER with a Friday concert by the exhibitions, the concert programme spreads its net wide from the (JUNE 30-JULY 2) www.nantwichjazz.com Devon Youth Jazz Orchestra popular mainstream to the experimental. This year’s bill includes FESTIVAL This three-day festival at Glynde BATH FESTIVAL and then, for two days, follows Clare Teal and Guy Barker with First Ladies of Swing, a combined (JUNE 1-3) Place, East Sussex, is full of such (MAY 19-28) a packed afternoon bill of Jazz Africa and Jazz Cuba, Tomasz Stanko, Jambone, Binker and STARS A mixture of blues and country big names as Gregory Porter, This multi-arts festival has an programme with a major Moses and the Instant Composers Pool Orchestra. (April 26-May 1) mounts a music at Euston Hall in Suffolk is Laura Mvula and the Robert impressive list of jazz artists evening concert – on Saturday, www.sagegateshead.com remarkable array of international stars each year as well as using headlined by Nick Lowe, My Glasper Experiment. including Madeleine Peyroux and the Bateman Brothers Louis the resources of a great festival town to run a whole series of jazz- Darling Clementine and www.lovesupremefestival.com Armstrong tribute. related projects. The year’s line-up of big names is as impressive as Brad Mehldau. Guadalupe Plata. Clare Teal www.bathfestivals.co.uk www.budleighjazzfestival.org ever: Chick Corea, Laura Mvula, Gregory Porter, Chris Potter, Dee www.redrooster.org.uk BURTON AGNES JAZZ Dee Bridgewater, Booker T. Jones, the Steve Gadd Band, Lionel AND BLUES FESTIVAL Loueke.... VALE JAZZ & BLUES NEWPORT JAZZ www.cheltenhamfestivals.com FESTIVAL (JUNE 30-JULY 2) WEEKEND ON THE Now in its 10th year, the festival (MAY 19-21) ISLE OF WIGHT in the historic setting of Burton Chick Corea The Vale in question is the Vale of Agnes Hall is headlined this year Glamorgan and Barry is the (JUNE 1-4) by Claire Martin and Ray Gelato home of the festival which With a headline concert by and Irish blues star, Kaz Hawkins. features, among many others, the NYJO at the Medina Theatre, the www.burtonagnes.com Jake Leg Jug Band. festival also features such top www.facebookcom/barryjazzblues British musicians as the Derek Nash Quintet with Martin Shaw, Craig and Nigel Price Milverton with Vasilis Xenopoulos. www.newportjazzweekend.co.uk

18 THE JAZZ RAG THE JAZZ RAG 19 JAZZ AND BLUES FESTIVALS SOUTHPORT JAZZ

SOUTHPORT JAZZ towards a rather more Alan Barnes Octet MORE TO LOOK FORWARD TO mainstream programme. The FESTIVAL 2017: JAZZ most obvious example of this, an ON A WINTER’S opening night concert with Clare WEEKEND Teal, was a huge success. The locally based big band Swingtime ROYAL CLIFTON under trombonist Jez Murphy, with the confident and HOTEL, SOUTHPORT, accomplished singer Emma FEBRUARY 2-5 Holcroft, was a revelation, with crisp section work, well balanced It’s never easy for a successful sound and a dynamic drummer. jazz festival to change its management team: change As for Clare Teal, she just sang a everything radically and you lose series of the very best songs with Savannah Jazz Band Photo by Robert Burns your loyal followers, keep swing, poise and total regard for the lyrics: That Old Black Magic in VENTURING AGAIN everything the same and it soon confining himself to reprising The The following night French the Billy May arrangement, a fine Venture Away Jazz Weekends pay return visits to the same two Keith Nichols becomes stale without the Suite and A Jazz trumpeter Fabien Mary new arrangement of Manhattan, a venues as appeared on their Spring programme: Royal Bath original driving force. After 12 Christmas Carol and making our impressed everyone with his successful foray into Beatles Hotel, Bournemouth (October 13-16) and the Royal Hotel, STOMP OFF, LET’S GO! years of Jazz on a Winter’s flesh creep with melodramatic -influenced playing: territory with Can’t Buy Me Love, Scarborough (November 17-20). Each weekend features five Such is the latest tagline for the ever-excellent Mike Durham Weekend under Geoff Matthews descriptions of Marley’s Ghost or beautiful pure tone, love of following the example of Ella bands, with the Savannah Jazz Band and Baby Jools and the Classic Jazz Party (October 27-29) at the Village Hotel, and his team, Festival Director the Tiger of San Pedro. The melody, precise articulation – and Fitzgerald. Clare suggested her Jazzoholics appearing at both. Other popular bands playing one Newcastle, otherwise known as the Whitley Bay Jazz Festival. Neil Hughes seems to have got versatility of the saxes (himself, a very good Anglo-French programme was a tribute to Ella, venue include New Orleans Heat and the Sussex Jazz Kings. Approximately 33 international musicians will revive classic jazz in the balance between tradition Karen Sharp, Robert Fowler) gave quartet. Finally a quintet led by though she made no attempt to www.ventureawaymusicweekends.co.uk all sorts of instrumental combinations and ingeniously themed and innovation about right, Alan the opportunity for Iain Dixon and Mike Walker took follow her stylistically – no scat programmes. Jamie Brownfield flies the flag for England in the face helped by the presence of Geoff contrasts in voicing and he no prisoners in a performance singing, for instance. She knows of three American trumpeters, Duke Heitger, Andy Schumm and and Roy Matthews to help and delighted in pairing one or two that kept the audience in place to what she’s good at and does it Mike Davies; Germany is well represented in the saxes, with advise. saxes with a brass instrument its post-midnight finish. very professionally. Matthias Seuffert and Claus Jacobi; Keith Nichols and Martin Litton rather than writing for the are among the pianists on view; and Emma Fisk’s violin and Frans One shift in 2017 was away from And the tradition of featuring fine With Clare’s introductions section: Karen Sharp’s baritone Sjostrom’s brass bass make the case for the neglected instruments the event itself and towards the new talent continues at putting many of us in mind of the and ’s trombone in jazz. individual concerts. All the Southport. Acclaimed quintet Jam late Victoria Wood, it proved the on Fisherman’s Blues, for instance. www.whitleybayjazzfest.org workshops, photographic Experiment opened the festival first of three highly entertaining exhibitions and talks were cut The most exciting set of the proper, mostly featuring originals main evening concerts. The down to one workshop with weekend, oddly programmed for from their first album, while Derek Nash Acoustic Quartet JAZZ IN THE Liane Carroll. On the other hand Saturday morning, came from the singer Ben Cox made a great concert was notable for his rapid there were two innovations in Seamus Blake Trio. A player of impression on Sunday morning. QUANTOCKS switches from one saxophone to programming in addition to the prodigious stamina, great Nice swinging versions of St. Audries Holiday Club at another (he got a great sound usual 11 full-length concerts. A technical facility and sustained standards, the vocals well Laura Jurd the foot of the Quantocks out of a little curly soprano – no pre-festival Thursday night invention, the New York-based integrated into his excellent specialised in themed harshness) and the musical by- concert with The Weave catered tenor saxist also gave plenty of quintet, were fine, but more THE LAST SWANAGE FESTIVAL weekends and the Jazz play between Derek and Dave for early arrivers, and Saturday room for his British musicians. surprising was the quality of his This is a momentous, but also sad, year for the Swanage Jazz Weekend (September 22- Newton. First half highlights evening offered a choice between On Blake’s original material: I Don’t Want to Festival (July 14-16). Fred Lindop, who has directed its fortunes 24) boasts a particularly strong included a version of the the regular programme and a muscular tenor eventually gave be Lonely Tonight, for instance, for 29 years, has decided to take a well-deserved retirement and line-up this year. To go with the Mulligan-Desmond arrangement Gala Dinner with Liane Carroll. way to a witty exchange between proved a really good ballad, one of the most popular festivals in the UK will cease to be after beautiful scenery there is jazz of All the Things You Are (Newton’s This proved a shrewd move, the Ross Stanley’s organ and James certainly worth an independent 2017. The line-up is as impressive as ever. While the ‘traditional’ tent from the Brownfield-Byrne piano replicating Desmond’s dinner being a sell-out, yet the Maddren’s drums, sparing organ life of its own. Not so much new welcomes such favourites as the Savannah Jazz Band and John Hot Six, Spats Langham’s Hot alto), a beboppish conflation of attendance at Derek Nash’s phrases gradually winding down talent, but a new project, The Maddocks’ Jazzmen, the more modern tent boasts an excellent mix Fingers, John Shillito and Li’l Darlin’ and Cute and the simultaneous gig, where I was, to the ending. In a programme of Train and the River, a re-creation of the generations, with a random sample of the bill coming up with Richard Leach’s 7 Stars of Jazz, Monkish You’ve got to dig it to dig apparently unaffected. standards and originals the of the Trio had its Darius Brubeck, Alan Barnes with his new suite on the subject of among others. it, you dig? A rather strangely Spats Langham wonderful surprise was the highspots, notably the opening the fishing industry, Tina May, Laura Jurd’s Dinosaur, Freddy Gavita www.staudriesbay.co.uk programmed second half never A less clear shift, possibly not Beach Boys’ , with performance of the song itself and Remi Harris. lived up to its opener, a even deliberate, seemed to be organ and tenor solos that and pretty much anything Andy www.swanagejazz.org wonderfully exhilarating Keep it to followed the same trajectory Panayi did, but a heavily arranged, Seamus Blake Yourself, with Dave Newton from solemn restraint to bluesy cerebral programme lacked the egging Nash’s tenor on to ever intensity and back again. necessary contrast. Unfortunately more key changes. BIRMINGHAM DEFIES BREXIT I was unable to catch the The many fans of Birmingham and Solihull Jazz Festival (July This year Southport was pretty The majority of the programme Birmingham Conservatoire 14-23) know what to expect in terms of European imports, a successful in solving the ongoing was typical of previous year’s Ellington Orchestra on Sunday succession of bands (often youthful, often unknown) who rapidly problem of the late-night concert festivals – and that meant a afternoon, but I heard good become festival favourites and return year on year. Despite Brexit, which traditionally starts with a themed concert with the Alan reports of the concert. Birmingham’s patrons can look forward to the return of the likes of bigger audience than it finishes Barnes Octet. In a reverse of the The Busquitos, Pepper and the Jellies and Saxitude. For a 10-day with. Restricting the concerts to So no bad luck for the 13th Nash concert, this really hit its festival Birmingham keeps up a remarkable schedule, with a packed one long set pretty much Southport February jazz festival, stride in the second half. Billed as programme of free events all over the city, Solihull and beyond, also obviated this, though, with a with the new regime settling in Such Suite Thunder, this looked drawing on the best of British talent such as Simon Spillett, Art starting time of 10.30 the gentle nicely, with a few gentle tweaks back on Alan’s previous suites as Themen, Alan Barnes, Bruce Adams and Digby Fairweather, working lyricism of Trichotomy – a piano to a well-tried and highly well as premiering some with a selection of top-class trios. trio from Australia with more successful format. movements from A Grimsby Fish www.birminghamjazzfestival.com than a hint of Scandinavia – Tale, his latest commission. Alan tended to lull us towards sleep. RON SIMPSON The Busquitos Photo by Merlin Daleman Photo by Robert Burns seemed in literary mood,

20 THE JAZZ RAG THE JAZZ RAG 21 ON RECORD REVIEWS

Oscar Peterson These ten tracks feature the those of taste. It features covers Rockin’ In Rhythm) are given the Green’s economical style. original group of Harris, Andy (ranging from Bacharach to trio treatment, first with drums Herbie’s quotation from It Ain’t Simkins (bass) and Richard Whiting and even an then repeated with guitar Necessarily So underlines the (drums) with Kalil Madi and Carl adapted excerpt from Debussy's replacing percussion. The format gospel feeling of Sometimes I Feel Burnett respectively replacing String Quartet in G Major) as of the tunes is not so very Like a Motherless Child. The Dowdy on five tracks. The tunes well as original music, the two so different in these two versions recording quality is generally are a refreshing balance of deftly woven together as to be but the recording quality of the good throughout this set, neglected standards, Girl Talk, The symbiotic. And with subtle use of latter is inferior. Several of the although a couple of live tracks Night has a Thousand Eyes, Franz electronics and a string quartet in tracks are little more than by the Quintet are Lehar’s Yours is My Heart Alone, the mix there is no danger of elegant statements of the marred by fuzziness and Toots Thielmans’ delightful little anything sounding formulaic themes. CD2 allows more space background noise. waltz, Bluesette and heavily blues either. Indeed, special mention for the guys to stretch out - soaked versions of Blue Genes must go to both co-leaders string indeed, the final track is fifteen TONY AUGARDE A.M. Blues and Rat Down Front. writing, which appears more like minutes long. Here again, many Eyes is particularly enjoyable with an extension of their own playing titles duplicate the first disc, but JACK DEJOHNETTE/ its bossa nova intro exploding than an adjunct to it. Many the trio backs some illustrious / into a fireworks display of images may be conjured by this horn players. rhythmic variations. album – the more adult end of MATTHEW pop, television and film A good overview of Peterson’s GARRISON Eyes and Heart are, probably, the soundtrack scores, a touch of work up to the sixties, but the highlights of the highlights of fusion – none of them likely to album title is ambiguous: IN MOVEMENT these spirited and energising sets. draw a more tradition-minded Ellington’s song book probably Harris’s clean touch and jazz listener, but then that's the had a few hundred more titles ECM 2488 54:25 propulsive attack is addictive and point; this is music first and than the fourteen represented Simkins and the three drummers foremost not an exercise in here! Former Miles Davis sideman make for vibrant company. artistic pigeon-holing. In a great DeJohnette has a habit of finding many instances, it's gloriously HUGH LEDIGO new companions to inspire him At a time when jazz seems to be stunning music at that. and new directions for his music. losing its place in the public’s CYBILL SHEPHERD seconds. As for the album title - Recommended to those with HERBIE HANCOCK Here he’s heard on drums and consciousness, and with reviews Cybill Getz Better - it couldn’t get open ears. piano with Garrison, the electric- of jazz events and records CYBILL GETZ BETTER much worse! That said, Cybill Getz THE EARLY YEARS bassist son of , Better is one for the curious and vanishing from the pages of our SIMON SPILLETT ’s original bassist, the Getz completist. national newspapers, this is just Inner City IC1097 34:45 Acrobat ADDCD3178 2CDs and Ravi Coltrane, son of the the kind of joyous, accessible OSCAR PETERSON 140.50 great JC himself, this association RUSSELL CORBETT music which could lead jazz out Yes, former catwalk model now on-going. Fittingly, this of its self-imposed dead-end and turned film star Cybill Shepherd THE COMPLETE DUKE This double album is a beautiful recording opens with a re-establish it back into the sings accompanied by a first class ELLINGTON SONG BOOK cornucopia for fans of Herbie highly moving reading of Alabama, mainstream of popular music. band featuring Stan Getz! Some FEATURING GENE Hancock. It selects 21 tracks with Coltrane on tenor handling five years on from starring in his father’s elegiac piece with HARRIS JOHN MARTIN Essential Jazz Classics EJC recorded at the start of Herbie’s Peter Bogdanovich’s The Last 55711 2CDs 74:28/72:22 career, in 1961 and 1962. It commendable restraint, as Picture Show, the then twenty- GROOVIN’ HARD: LIVE AT includes the whole of Takin’ Off, DeJohnette plays a rumbling something Shepherd went into STUART MCCALLUM/ accompaniment that ebbs and THE PENTHOUSE One of the most accomplished his debut album as a leader. This the studio to work with Getz, MIKE WALKER album consists entirely of flows. This is moving, quite 1964-1968 pianists in the jazz genre, Frank Rosalino, Peterson drew on everything Hancock originals, including profound music, deeply felt and and others. The ten tracks heard THE SPACE BETWEEN Watermelon Man which rightly light years away from the Resonance HCD 2025 51.12 from boogie and stride to swing on this Inner City release suggest and bebop, forging an inimitable became a , with mundane. The title piece, Shepherd was anything but a Edition EDN 1082 49.11 excellent solos from Freddie attributed to all three, has a Recorded on three dates over style, virtuosic, harmonically wannabe singer. Shepherd can Hubbard and Herbie himself. It mysterious, ethereal quality, Ravi’s five years at the Penthouse Club complex, often orchestral in sing, no doubt about it. A light, An album like this presents a illustrated Hancock’s willingness spiky soprano reminding me of in Seattle, this represents the texture, and always with that confident vocal style, if reviewer a very real dilemma to straddle genres, which was Garbarek’s airiness, the intensity very best of the group’s output. powerful surging swing. occasionally a little theatrical, the when sent for appraisal in what is later manifested in his electronic building over a moody ostinato Obviously, pianist Harris is a virile model-actor-singer Shepherd by definition a ‘jazz’ magazine. It On the second of these two experiments (among other bass figure. proponent of the group’s musical more than holds her own in such CDs, C Jam Blues, recorded in styles), and is exemplified by the philosophy which is to swing hard also proves, as we edge towards exalted company. funky country-flavoured Wagon Cook and Morton spoke of and enjoy every minute. It has the second decade of the 21st 1945, reveals his already Wheels in this collection. His DeJohnette’s ‘vivid musicality… always puzzled me why Gene century, how futile is the gesture impressive technique, with the I Can’t Get Started and I’m Old and his enviable instinct for Harris has never received the of labelling music with that or piece riding out on a driving left- versatility is also clear in the Fashioned illustrate Shepherd’s texture and form’ and all that is acclaim accorded to Erroll that redundant stylistic tag. hand boogie figure. In 1949, he contrasting Drifting (with echoes command of a lyric with an at evident here as he marshals the Garner, a pianist with the same put his astonishing skills to work of ) and personal sense of phrasing. McCallum and Walker are both trio’s resources both mental and cheerful outlook. on an exhilarating Rockin’ In understated Alone and I (more in The instrumentalists’ master instrumentalists, but Rhythm. In the same year he vein). physical, the spare, often oblique contribution to the recording is, To dismiss him, as some critics perhaps their greatest shared gift began his long-lasting association ideas and embellishments of course, top drawer. Frank do, as merely a crowd pleaser is is that of being equally with bassist . To this The rest of the album presents thoroughly striking. Rosalino’s trombone playing on to fail to realise what a accomplished at the art – and it duo he soon added guitar (first Herbie performing as sideman has piano and soprano and bears Please Don’t Talk About Me When formidable technique lies behind is just that – of choosing Kessel then Ellis) before settling with such jazzmen as Donald no resemblance whatever to the I’m Gone is that of a master his effervescent and uplifting repertoire and texture. Thus, this on the more common piano- Byrd, Roland Kirk and Grant Davis version. These three have a musician enjoying himself on this outpourings. And when did the record is no more an album of bass-drums line-up. Green. The sleeve-note unique empathy and their music Hollywood date. It should be words ‘crowd pleaser’ get a bad guitar duets than it is one of mysteriously calls is compelling and highly spiritual. noted that this reissue, welcome name? ‘jazz’. It's simply one of beautiful On the first disc, twelve of ‘an unfamiliar name to many jazz See for yourself. though it is, comes in at a meagre music, expertly realised and Ellington’s best known numbers fans’ but Hancock’s stripped- thirty four minutes and forty five unconfined by any barriers save (such as Sophisticated Lady, A Train, down playing merges well with PETER VACHER 22 THE JAZZ RAG THE JAZZ RAG 23 ON RECORD REVIEWS

Dave Brubeck and man not only running out of THE the pianist’s love of remind us just what a muscular steam, but also running out of QUARTET counterpoint.Bassist Bob Bates tenor he is. time. and drummer Joe Dodge needed to be – and certainly were – The music, for 1974, is He has favoured musicians with AT THE SUNSET CENTRE, highly competent (though the surprisingly modern; a kind of him in Ron Matthewson on bass, CARMEL 1955 former’s occasional solos sound high powered, modal mainstream, Spike Wells on drums and the dated to latter-day ears). energy driven as would be redoubtable Mike Pyne on piano, Solar Records 4569973 74:38 expected from a Rich group. His a player who is always This disc contains a set typical of own drumming is loud for the provocative and who shares the The Brubeck quartet – four years much modern jazz in the mid- small group but not too solo space with the tenorist. This into its long and productive fifties. Apart from Brubeck’s own overpowering. He whips the was the last recording with this career when this concert was Two Part Contention, it’s made up group along in an exultant foray lineup. recorded – was highly of standards like Gone With The into Basie’s Jumpin’ at the controversial in its hey-day, Wind and Jeepers Creepers Woodside. The sound quality suffers from particularly among the critics. leavened with less common the usual risks associated with pieces such as The Trolley Song and Billie’s Bounce (both takes) are, private recordings and amateur The pianist/leader had studied a very Bachian rendition of probably, the most rewarding technology. Mike Pyne sounds as with Darius Milhaud and – even if Brother Can You Spare A Dime. tracks. Overall the prime quality though he is struggling with a less that composer’s decidedly French Then there is the ubiquitous Take of the musicians is what makes style is not really apparent in than acceptable piano, but on the The A Train. this club date especially Brubeck’s work – his classical whole and, in spite of the leader’s enjoyable. impaired health, some of the background is omnipresent, with The sound is quite good, too, for TUBBY HAYES often better) against the best of intensity and the energy of a a predilection for counterpoint. a live recording of the time. Sadly Still, I am intrigued by Sonny his American rivals. His sunny Tubby Hayes performance comes He was also prone to massive this doesn’t apply to the piano, Fortune who seems to be largely down phrasing. The instrumental series of all-star ensembles QUARTET constitution also added to his through. chordal passages, which could which is a bit clunky. Great fare forgotten, a fate which overtakes contributions are good arco bass, packed with the leading Paris- fame and he was held in become heavy-handed at times. for those of us who were there many fine players. It has been said pertinent piano and tenorman based jazzmen of the mid-1950s, INVITATION: LIVE AT THE affectionate regard by his peers. On a happier note the spirit and But one cannot deny his at the time and – for younger of him that his ease with a range Shepp mainly controlling the names like , vibist TOP ALEX 1973 technique of Tubby Hayes lives on originality and creativity. Co- ears – an instructive and, of styles curbed the development overt ebullience of his solos and the exceptional But by this date in 1973, his in the form of another founder Paul Desmond, an hopefully fascinating, document of of one of his own. That could elsewhere, to my personal relief. bassist among Acrobat ACMCD4391 health was worsening and it was formidable tenorist, Simon equally inventive and distinctive a past era. explain his recent apparent the best-known. Fifty tracks in all, beginning to show. The long, fiery Spillett who seems to have musician with a unique sound, invisibility. The three original compositions ranging across a variety of big Amongst all of our talented eruptions had slowed to carefully inherited the Hayes gene and was the epitome of the cool HUGH LEDIGO heard here prove her mastery of and small band formats. British musicians only Tubby spaced offerings. His tone on who contributed the excellent school. Where his leader was JOHN MARTIN the art of amalgamating could claim the title of ‘Legend’. tenor sounds closer to an alto sleeve notes to this release. volatile, aggressive even, the SEPTET intelligent lyrics and appealing Apparently rated as the best He was a whirlwind of a player and the solos are considered altoist’s approach was lyrical, fluid ABBEY LINCOLN melodies. By far the best is Throw arranger in France, Chevallier who could hold his own (and rather than instinctive. This is a JOHN MARTIN and often subtly witty. He shared WITH It Away, which I've enjoyed by certainly can be compared to the GOLDEN LADY some other singers. I approve of likes of , his big band her awarding it two complete, scores cleverly structured and VERY LIVE AT BUDDY’S different choruses. impeccably played, tenorist Jaspar PLACE. Inner City Records IC 1117 43:48 the standout soloist. The fast- LES TOMKINS moving Saxologie with Roger Phono Records 870270 78.02 Abbey Lincoln was one of those Guerin’s zippy trumpet could artists who successfully CHRISTIAN have graced any band then active In 1974 Buddy Rich opened the in the States, momentarily first of two clubs in New York combined jazz singing with film CHEVALLIER – HIS acting during a career of some 50 Kenton-esque and powerful. In with the eponymous name of ORCHESTRA AND fact throughout whether in the Buddy’s Place. years. Her first recordings, in the mid-'fifties, saw her working with SMALL GROUPS larger groups or his Tristano-like smaller configurations with Sadi This session was recorded live at drummer , to whom 1955-1961 prominent, there’s interest the new but short-lived venue she was married for eight years, aplenty here and it’s thanks to and was the only occasion when till 1970. This set from 1981 was LE PRINCE DU JAZZ Fresh Sound for bringing this this personnel got together. What only the seventh of 24. Here she FRANÇAIS accomplished, often exciting makes this disc so interesting is is backed by on music (and the work of these the presence of Philadelphian tenor, Roy Burroughs on Fresh Sound FSR-CD 893 many fine soloists) to our notice altoist Sonny Fortune, also trumpet, on piano, 78:42/79:44 now. featured here on . Fortune is Jack Gregg on bass and Freddie Waits on drums. a very neglected player, especially The French pianist and composer PETER VACHER on record. His time with Miles Christian Chevallier is listed in Davis, McCoy Tyner and Buddy The fact of there being only six Tom Lord’s discography as MD CHARLIE PARKER extended and broadened his tracks in near-45 minutes for the Blue Stars vocal group outlook from his background in indicates that she explores each and as the arranger for a Chet . He is a one quite fully, particularly three Baker big band album. That might BIRD IN BOSTON: LIVE AT passionate and volatile player and standards, with Michel Legrand's appear to be the limit of his THE HI-HAT 1953-54 I would have liked to have heard What Are You Doing The Rest Of interest to jazz fans but for this more of him previously. His flute Your Life? running to 9:34. As a new compilation based on a Fresh Sound FSRCD 911 12 solo on is exotic and songwriter herself, she has total series of French-issued LPs and CDs 67:37/75:10 arresting. As it is, his is the respect for the first-class lyrics EPs all ignored by Lord. So what dominant voice in this pleasing and gives them her all, is on offer here? Certainly a very Like a great many of Bird's live club gig, although Kenny Barron’s introducing some of her comprehensive over-view of his recordings, these sessions have busy and percussive piano is a big characteristic chanting and French recordings featuring a appeared before on various plus and competes to climaxing with some nice slowed- different labels. This valuable new 24 THE JAZZ RAG THE JAZZ RAG 25 ON RECORD REVIEWS

Sonny Stitt 12-bar. It's all good stuff, and ELLA & LOUIS ‘This is a Porgy performance you TAL FARLOW the same year as Star Wars (and attempt to recreate an certainly she was the epitome of would be ill-advised to miss’. For what fun Ra would have made of exceptionally successful 'easy listening', but in a highly THE COMPLETE NORMAN sure. TRILOGY that score), Cosmos may not be partnership of the 1960s. Nine musical manner. GRANZ SESSIONS an especially well-known Ra tracks – five written by Schifrin, PETER VACHER Inner City Records IC 1099 record, but its reappearance is three by Smith and one from, to welcome nonetheless. While no- LES TOMKINS One Records 59805 53:37 some, the inexplicably popular SONNY STITT/ one could argue that it’s as James Last – are at best a mixed 75:50/76:35/66:37 indispensable as, say, The ARCHIE SHEPP A self-taught musician, the playing bag. Owen McNally’s liner notes Heliocentric Worlds of Sun Ra or from the time suggest Smith had Complete means complete, with of guitarist Tal Farlow (1921-98) Jazz in Silhouette, there is still grown tired of record executives DOODLIN’ the original Verve allbums, Ella & CHEROKEE sounded like no other. His extra- enough going on to make for a encouraging him to embrace Louis, Again and large hands enabled him to play fascinating listen. For starters, disco. This Inner City Records Inner City Records IC1001 Porgy & Bess spread over this continuous clusters of notes, or Phono 870272 2 CDs 152.42 there's a typically hard-boiled release simply highlights an 39:16 version’s three CDs. It need of chords. After attracting feature for John Gilmore on the unpalatable truth – disco hardly be said that these classic ‘Well, I’ll be damned, you sound attention with 's trio, title track – prompting yet more continued to be all pervading and This is a release for Archie Shepp conjunctions between Fitzgerald just like me’. Thus Charlie Parker with Charlie Mingus on bass ('49- arguments about who got there the new instrument at Smith’s completists. It features Shepp on and Armstrong rate high in the spoke to Sonny Stitt when they '52), he made his first own-name first; him or Coltrane? - and a disposal didn’t help engender a piano, rather than his more canons of each artist, thanks to first played together. And that’s recordings at the age of 33 chance to hear the young Craig raw, pulsating set associated with customary . He the foresight of producer certainly what Sonny sounds like (1954). He was back with Norvo Harris tearing things up on the the master of jazz (and blues) is accompanied by Bob Reid on Norman Granz. As Ella’s manager on this collection of early when I interviewed him in 1981. opening The Mystery of Two. And organ. The penultimate track, bass and Muhammed Ali at the he could organise her side of recordings by Stitt from 1957 to This trio set from 1976, with despite this not being an exactly Smith’s In Search of Truth, comes drums. Flugelhorn player Alan things, together with his other 1963, taken from four separate Mike Nock on piano and Lynn vintage Arkestra line-up, even the closest to capturing the Shorter is added to the Shepp main signing Oscar Peterson LPs. Sonny is heard with pianist Christie on bass, finds him in non-names come up with some excitement one would hope to original Worried About You. This set (who provides the Hank Jones backed by a series of sparkling form. The accent, surprises, in particular the hear, and Smith’s sidemen are up was originally released in 1976 accompaniment for the larger different bassists and drummers mainly, is on rhythmic items, all virtually unknown Ahmed to the mark, but there is too and is included now in a tranche part of the first two albums) but in 25 quartet tracks, with tenorist 2-CD release, however, must would be hard to imagine a familiar standards, with three Abdullah, a player with ears full of little of it to award top marks to of releases from the newly re- pinning Louis down was more of Paul Gonsalves added to make up surely be the definitive issue, better representation of this midway to showcase his melodic contemporary this album. activated Inner City Records. a problem. His busy schedule a quintet on another five tracks. and Woody Shaw. Indeed, there collating four broadcasts made material, so even if you already side. Then there is a change of meant these sessions were Sonny’s resemblance to Charlie are touches of other Seventies from Boston's famed jazz niterie own this stuff, don't pass this one pace with a dramatic rendition of RUSSELL CORBETT The set opens with Sweet Georgia shoehorned into his diary Parker is disconcerting even if he vibes too, not least in the in 1953/54, which, although by. the theme of a potential Brown with Shepp alone at the without leaving any time for plays the tenor sax rather than grooving, funky bass guitar work coming relatively late in the day Broadway musical. piano. Apparently he chose to rehearsals. A case therefore of the alto on some tracks, as at from one R. Anthony Bunn. for Parker, still find him conjuring SIMON SPILLETT ‘head’ arrangements and times he seems not merely include this as he had liked the My favourite track is the final up his own fresh sounds. improvised routines, with the influenced by Parker but almost a THE TOMMY LADNIER song since hearing Thelonious Funk Among the Keys, for which The leader himself – playing chosen keys favouring Louis’ carbon-copy of him. what's billed as a ‘rocksichord’, COLLECTION Indeed, despite a rather limited Monk play it. It is clear that Monk drummer Bob Jaspe is an made an indelible imprint on rather narrower range. essential addition. In this vein, Tal no mean feat for a man born repertoire (three versions each WHATEVER JULIE WANTS This is particularly noticeable in Acrobat FADCD 2061 2 CDs Shepp’s piano playing. Silver is seems to spread his wings with during the First World War – is in of Cool Blues and Out of Nowhere The results are of course a those places where he is tempted one of Shepp’s favourite some stunning high-pitched typically playful form, creating 145.00 and no less than four of Discovery Records FM610 triumph for all concerned; initially to double or even quadruple the composers. Invitation has been sounds and a strong touch of the swirling keyboard soundscapes Ornithology), there is no it’s Ella who impresses, poised tempo in Parker style. This often This double CD is part of a ‘Jazz 75:42 included in Shepp’s repertoire Claptons. But, after four exciting which at times (Interstellar Low- suggestion whatsoever that and calm, with Louis less sure on leads him to emphasise technique Legends’ series, and it showcases since hearing John Coltrane play minutes, as the pianist gets into a Ways) are affectingly beautiful. bebop's fountain-head was about these familiar standards, the at the expense of melody. a trumpeter who deserved to be No American lady singer has it. Coltrane was a major influence great groove, it suddenly fades Who else could have dreamt up a to run dry and, countering the trumpet passages a tad tentative, Fortunately Hank Jones’s refined called a legend even though he been easier on the ear than Julie on Shepp and the two men away, leaving me wanting more. title like Jazz From A Unknown myth that out-on-the-road he London. She did not necessarily OP’s fills a model of restraint. piano provides a valuable Planet and made music to fit? was most often a sideman with clearly share a deep appreciation was forced to slum it with lesser qualify to be termed a jazz singer, The overall effect is affectionate, contrast which avoids showiness. the bands of other people of the music’s history. The LES TOMKINS talents, his local pick-up band though some of the 32 albums charming and relaxed Drummers will be disappointed Unclassifiable and unmissable. (Fletcher Henderson, the New influence of another jazz master, seem equally switched on. she made between 1955 and throughout, Louis gaining in that Shadow Wilson and Roy Orleans Feetwarmers, Mezz Duke Ellington is evident in the SUN RA Trumpeter makes 1961 had jazzy elements to them strength and playfulness as the Haynes are under-recorded on SIMON SPILLETT Mezzrow) or in groups more lyrical approach to this a particularly good foil, replaced and all had leading West Coast sessions unfold, with the All-Stars the first CD, although Osie accompanying such vocalists as song. Worried About You COSMOS here and there by the little- jazzmen in support. coming in for a few final tracks. Johnson is recorded more JIMMY SMITH Ida Cox and Rosetta Crawford. introduces flugelhorn player Alan known Herbie Williams, an It’s fun to hear Louis sing solo on prominently (perhaps too This collection is most valuable in Shorter, brother of Wayne, Inner City IC 1020 37.59 impressive player very much This particular 28-track Let’s Do it, taking a sideways look obtrusively) on the second disc. THE CAT STRIKES AGAIN sampling Ladnier’s early work under the spell of contemporary collection comprises a dozen together with percussionist at those wonderfully wry lyrics, from 1923. In fact the whole of More bonkers but beautiful Miles Davis. standards culled from various Muhammed Ali and bassist Bob with Peterson’s fills a joy in TONY AUGARDE the first disc is devoted to the explorations from Saturn's Inner City IC1121 47:30 albums and a complete set of 16 Reid. ’s themselves. 1920s. Most of the earliest composition If You Could See Me favourite musical son. Released There is also a nice reminder of blues-slanted songs. In total, it is a Jimmy Smith secured his place in tracks are actually blues, with Now shows Shepp in a more how professional, warm and good representation of her ability Porgy & Bess is an altogether the pantheon of jazz organists Ladnier’s cornet adding a reflective, romantic mood. The Sun Ra courteous the saxophonist could to do justice to worthy material, different project, L&E provided long before this 1980 Hollywood poignant, lyrical feeling to the be during his frequent spoken with that style dubbed 'sensuous' standard More Than You Know with a lush setting by the Russell studio recording session. After a vocals by the likes of exchanges with DJ Symphony Sid, and 'smoky', linking with her follows with more of Shepp’s Garcia orchestra, allowing period of self-imposed semi- and Ida Cox. This accounts for his something he also proves glamorous image in 23 romanticism. ’s tune Gershwin’s masterful score and retirement playing gigs in his own nickname of ‘The Praying musically by welcoming tenorman Hollywood movies. brings the set to a lyrics to be interpreted in club, Smith went into the studio Cornet’. Three 1926 tracks and - eventually a founder close. This collection reveals a suitably magisterial fashion. Just with , Ray more from 1927 illustrate his member of Supersax but then a Although Julie was superb at the side of Shepp’s musical persona to hear Summertime with Louis’s Brown and other A-listers thanks sterling work with Fletcher veritable rookie – onto the stand most down of tempos, the which may not be as familiar to imperious opening trumpet to a sponsorship deal with Wersi Henderson’s orchestra. for one set. And, as always with pacings are mostly what I term listeners as his avant-garde image statement as Ella offers her organs which required Smith to Bird, there's a nice surprise; in 'easy medium', and there are no might suggest and is an perfect exposition of the lyrics is play the company’s new product Gradually Ladnier’s playing this instance a beautiful reading actual ballads. Twelve of the interesting listen for this reason sufficient incentive in itself, Louis – the Saturn W 3T. adopted a stronger, more of My Funny Valentine, which could album reproduction tracks have alone. then offering his equally poised swinging style, but he could still well be the best thing on the 'blues' in the title, but are about vocal reprise. As writer Gene The Cat Strikes Again sees Smith play lyrically. The second CD album. Newly remastered, it the blues, save for one genuine ALAN MUSSON Lees put it in his original review, reunite with in an includes a selection of tracks 26 THE JAZZ RAG THE JAZZ RAG 27 ON RECORD REVIEWS

beautiful balladry of I'll Look & 1960’s he led a series of piano sturdy lead trumpet is Around, and the bluesy, enticing I trios that toured and recorded supplemented by a soaring solo Want A Little Sugar In My Bowl. An COMPANY extensively. on his feature, Tin Roof Blues, and instrumental blues donates ferocious work on the concluding justified time to Al Shackman's JUBILANT POWER Here we have the complete Caravan, Cozy Cole’s richly guitar, and lets her stretch out a contents of four albums; Sweet varied drum feature. The concert bit on piano. Overall, it's as Inner City IC 1017 48:04 and Soulful Sounds, Born to be Blue, was presented very much as an entertaining a compilation as A Little Barefoot Soul and Chung- ‘All Stars’ affair, and after band you'd expect from this talented Curson’s career took him in King. The trios feature variously versions of old favourites Royal lady. several directions at once, in and , Ron Carter and Keter Garden Blues and Memphis Blues, out of the avant-garde, and often Betts (bass), Roy McCurdy, it’s a series of feature numbers, LES TOMKINS to Europe, notably Denmark , Ray Lucas and Albert even for the adept bassist, Jack where he lived and especially ‘Tootie’ Heath at the drums and Lesberg. So there’s nothing from his classic recordings with of club and concert hall MODERN JAZZ where he performed were recorded between 1962 ground-breaking, simply six highly regularly. His short-lived septet, the New Orleans Feetwarmers performances absent. Four bonus QUARTET and 1964. talented and experienced alongside Sidney Bechet and his tracks recorded at the New York caught here on successive days in jazzmen doing what they do best. work with Mezz Mezzrow. All in home of Monk’s companion Philadelphia and then New York, The repertoire consists largely of Hucko sails through FOUR CLASSIC ALBUMS all, this is an exemplary collection Baroness Pannonica de with changes day by day on standards from the Great Stealing Apples with impeccable reminding us that Tommy Ladnier Koenigswarter include Pannonica. drums and piano, has Curson CANNONBALL who impresses; blowing away the American Songbook. We do get a fluency and rather more attack Avid Jazz AMSC1226 2 CDs challenged other star trumpeters (1935-2012) himself on trumpet, ADDERLEY SEXTET sniffiness of his many critics, good selection of Timmons’ own than I remembered. Jack 159:40 with the gruff baritone-saxist brother Nat sounds equally compositions but, sadly, not the like Louis Armstrong and King As years go by readers who WITH Teagarden drawls his inimitable Oliver. The sound quality is as heard Thelonious Monk in and the fine altoist convincing; the young Zawinul is most well-known and perhaps way through expected for the period (1923- concert will be fewer in number. Four albums on two discs; the in the front line, the on fire and then-new sideman this release is all the more and and shows 1939) and the price makes this The complete studio solo MJQ recorded in concert on the first two tracks recorded live in COMPLETE 1962 LIVE , briefly abandoning interesting because of this. undiminished technical control collection a bargain. recordings of the period is a first, and contrastingly the second October 1976, the remaining RECORDINGS his own career as leader, adds and melodic fluency on the must for those who didn’t hear disc features the quartet engaging four studio-based. touches at once exotic and As with all Phono releases, an trombone – the coda to Basin TONY AUGARDE the man play live. Those who did with Gunther Schuller’s Third Phono 870258 4 CDs down-home (the -led informative 12-page booklet is Street, for instance. Earl Hines hear him in concert may well Stream Music. A committed fan of With Steve McCall’s churning 70:32/79:42/61:15/74:35 Trouble in Mind). It's mighty hard included together with seems constantly to want to to pick a favourite set, although wish to add these two CDs to the MJQ will, perhaps, prefer one drums suffusing the music, the reproductions of the original art burst out THELONIOUS MONK Cannonball in Europe just nudges their collection. over the other, whilst the listener effect is distinctly Mingus-like, this Issued by one of the great many work. This release provides a extraordinary, as in his new to the music of the period ahead, a gig brimming with feel- comprehensive overview of a COMPLETE 1954-62 not surprising considering that small (and somewhat mysterious) deconstruction of Tea for Two, out RUSSELL CORBETT and its developments will be able Curson was a former Mingus jazz labels emanating from good vibes. Just listen to the musician whose contribution to of time semi-classical verse, STUDIO SOLO crowd go wild at Cannon's solo to compare and contrast with sideman and that he conceived Andorra these days, this set is jazz is somewhat under-valued. followed by increasingly RECORDINGS on Dizzy's Business. NINA SIMONE the luxury of historical the opening piece Reava’s Waltz actually a cut above many other flamboyant variations on the perspective. as a tribute to CM, Brignola’s such releases. Not only does it ALAN MUSSON chorus. Just to surprise us, he Essential Jazz Classics One last thing though; as Zawinul baritone providing the obvious include three of Adderley's best sings I’m a Little Brown Bird in STRANGE FRUIT Disc one documents the gets his name on the billing - EJC55709 2 CDs 156:27 coloration, the improvisations are Riverside albums – The JACK TEAGARDEN/ tribute to Florence Mills, Scandinavian leg of the MJQ’s presumably as a selling point - long and not always as centred as Cannonball Adderley Sextet in New EARL HINES touchingly remembered by Hines Duke Ellington, Thelonious Monk, Essential Jazz Classics European tour of 1960. No fewer it's a tad embarrassing Phono one might like. It lasts twelve York, Jazz Workshop Revisited and 30 years after her untimely . If you like one you EJC55708 2 CDs 68:11/56:36 than eighty minutes of music have used a cover photo showing turbulent minutes. Its companion, Cannonball In Europe! - it also death. are bound to like the other two. across fifteen tracks makes . Nevertheless, ALL STARS IN CONCERT the slightly more measured Ted’s adds the bonus of several Thelonious Monk, One for Nina Simone European Concert Vols. 1 & 2 a highly recommended. Tempo, has a near-Messengers atmospheric radio broadcasts RON SIMPSON unaccompanied piano, thirty six completists. CD1 collects some pleasure to listen to. There isn’t Upbeat URCD 258: 62.12 feel, and goes for nine. Nobody from Birdland and one TV tracks, recorded variously in obscure singles from the mid- one dud tune. At the time of the soundtrack, the whole confirming SIMON SPILLETT lets up, especially the highly fluent Nearly 60 years ago, in the THE DIME NOTES Paris, Hackensack, New Jersey, 'fifties, mostly sad ballads, ranging recording the MJQ was a what a strikingly brilliant outfit Woods, who later worked with glorious rush of legendary New York and San Francisco. In from just voice and piano to working unit of several years this sextet was. Although there is the . jazzmen to these shores after the THE DIME NOTES excess of two and a half hours of strings behind her. The texture of standing, the link to an inevitable duplication of TRIO lifting of the MU ban, I remember undiluted Monk…more please! her strong voice seems to vary, bop, to material (three versions of The sound is OK, that of the hearing the Jack Teagarden-Earl Lejazzetal Records WCD16 Much of the music on this with the peaks of expressiveness developments. The five Gemini) nothing sounds tired or studio markedly better, of course. THE SWEETEST SOUNDS Hines All Stars at Birmingham 55:50 Essential's 2 CD release has, of on Remind Me, Blue Prelude, and compositions of Third Stream routine. Indeed, throughout the Curson plays flugel on his Town Hall and being as course, been available for many most notably You Don't Know Music were recorded in the late leader’s natural joie de vivre is poignant Song of the Lonely (which Phono 870273 2 CDs 77:25/ impressed by Max Kaminsky as Evan Christopher’s liner notes years on other labels. Original What Love Is. These illustrate her fifties with an augmented line-up positively infectious, his charisma sounds at times like a variation 77:47 any of the bigger names. That describe the Dime Notes’ music liner notes can be read as knack of making a song sound comprising some of the evident whether playing or historic documents, and some like her own creation. heavyweights from the jazz and on What’s New?), his facility opinion is borne out on Upbeat’s as ‘...based not upon nostalgia or offering up those contemplative, Comparatively early in his career, pertaining to the period – 1954- contemporary classical fields evident with bassist David splendid CD of the band’s cliché notions of authenticity, but witty announcements. Bobby Timmons was pianist with 1962 – give an insight as to how CD2 displays her development including the Jimmy Giuffre Trio Friesen similarly prodigal. So, a Manchester concert. Kaminsky’s around the experiences the ’s Jazz Messengers. He a select few critics championed between 1960 and 1962, with (Jim Hall, guitar, and Ralph Pena, mixed bag perhaps, with the Gathered together like this, these did two stints between 1958 and Bobby Timmons Monk. These essays are presented examples taken from radio that bass) on two tracks, and the jubilant Searching for the Blues recordings also call for some 1959 and 1960-1961. In in a twenty page booklet have not been on CD before Beaux Arts String Quartet. 1962’s nearer the mark for me. revisionism. Adderley may never between, he was part of together with an excellent now. A shuffle-beat I Love To Love album Lonely Woman closes the Originally released on LP, the CD go down in jazz history as one of Cannonball Adderley’s band. His has her performing in a most second disc. The quartet’s choice is copyright 2008 and must have jazz music’s innovators, but just introduction written by Marcel compositions from around this appealing manner, with a of ’s been around for a while. It’s how beautifully he and his band Ariostus (2016). time, including Moanin’, Dat Dere powerful finale that arouses the composition as the title track good enough to have prompted could synthesise contemporary and This Here enjoyed Nineteen of the tracks are Monk crowd, who emit sounds of keen perhaps caused a stir at the time, an enthusiastic 5-page essay by jazz trends is well in evidence. commercial success and brought compositions, the others ranging recognition when she goes into now, more than half a century on, the late Nat Hentoff so that Primitivo and P Bouk hew close to him a higher profile. He was from Ellington, Sammy Cahn and Nobody Knows You. This is an it can be heard as part of the might be sufficient the cutting-edge experiments of strongly associated with the ‘soul to and immensely stylised treatment, standard repertoire or at many a recommendation for many. Coltrane and co.; Jive Samba and jazz’ style, incorporating Jerome Kern. These studio climaxing with a spoken-word . A worthwhile Work Song mine the soul-jazz influences from blues, soul, gospel recordings afford the pianist the segment. Other highlights are a purchase. PETER VACHER seam and Jessica's Birthday is no and rhythm and blues into his opportunity to concentrate on swinging Love Me Or Leave Me, holds barred, second generation playing. In the early and mid- the tune at hand, the distractions with some Bach-type piano, the RUSSELL CORBETT bop. And it's not just the leader 28 THE JAZZ RAG THE JAZZ RAG 29 ON RECORD REVIEWS

music can provide.’ This, I think, JOHN COLTRANE Chambers and such outstanding In many ways the third and JEWS AND JAZZ: Norman Granz, Barney Willie 'The Lion' Smith encapsulates the band’s pianists as and Red fourth CDs are the most Josephson and Milt Gabler who approach. There is no doubt Garland (for a change Ruby My interesting. CD3 deals with his IMPROVISING TRANE 90 combined left wing anti-racist about their chosen oeuvre but, as Dear dates from Trane’s time collaborations, kicking off with a ETHNICITY politics with a love of the music an orchestra may view period with Monk). meaty partnership with Sonny Acrobat ACQCD 7105: 4 CDs, and regard for the musicians are music through the ears of Rollins on Tenor Madness in 1956. 76.23/76.02/75.57/58.17 CHARLES HERSCH set against the infamous Herman modern performance practices, Acrobat’s celebration of 90 years Also to be savoured are a four- Lubinsky who fits what Hersch so these guys produce sounds since his birth is an altogether sax front line of , Hank PLAYS BALLADS Routledge Transnational Studies calls ‘the exploitation narrative’ familiar to our latter-day ears more ambitious project, a Mobley, and Trane as developed by some earlier without compromising the complete primer in the music of The Prestige All Stars (marginally in Jazz: paperback, 978 1 138 Lucky Stars LS 70033: 74.39 academics, a narrative that in integrity of the original creations. John Coltrane (with one less exciting in performance than 19579 0, £29.99 general Hersch rejects totally. significant omission). The lavishly in prospect), George Russell’s It must be a problem for record Then again, how Jewish were American born Andrew Oliver, a illustrated booklet has an essay of Orchestra doing an elaborate Charles Hersch is a professor of companies deciding how to and Artie Shaw? more than able pianist, leads the nearly 40 pages by Simon Spillett, deconstruction of Manhattan, the Political Science, but his previous band with an assertive conviction package artists as prolific as, for telling you all you could wish to books have considered politics in Both played it down personally, evocative Bags and Trane with Milt tour the South in Parker’s sometimes sound like the menu derived, perhaps, from his studies instance, Ella Fitzgerald, Miles know about Trane. The first CD the context of, among other but it had a habit of cropping up Jackson and some great trumpet otherwise black band; and, for a kosher restaurant. in New Orleans. His primary Davis – and, of course, John concentrates on Coltrane the subjects, Bob Dylan and New in their music, though Hersch from and – on a fine interestingly, Roz Cron who model must surely be Morton Coltrane. The market has not Sideman and it’s worth Orleans jazz. Here his title is as points out that the most version of Just Friends by the ‘played black’ to tour with the Hersch’s narrative takes us from (four of that legend’s reached saturation point, so remembering that he only led a plain and simple as you could obviously Jewish elements in Quintet – Kenny International Sweethearts of the Jewish influence on 1920s compositions are included) but there is no chance of the flood of working group for the last seven wish, his sub-title veers towards Goodman’s music came from Dorham. Rhythm, but never let on in her popular song to the groups he is clearly partial to Earl Hines re-issues drying up. years of his life. Here are seven unhelpful pretentiousness. So you other musicians, notably Ziggy suburban Jewish community in currently trying to forge a Jewish and has more than a passing tracks with Miles and two with The final CD – of broadcasts and might expect a book that is a Elman’s fralich trumpet on And Lucky Stars’ ballad packages are California. identity in jazz. I rather like the acquaintance with . Monk, no more than one per private tapes – pushes the mixture of the academic and the the Angels Sing. Both the leaders well programmed, well packaged sound of Paul Shapiro whose album, mostly familiar titles such narrow time scale of this set accessible, written from a regularly played benefits for left- and with good sound quality. In On the other hand there are the album, Essen (we’re back in the David Horniblow, an alumnus of as Well, You Needn’t (Miles) and (1955-61) a bit wider. It begins political/philosophical viewpoint, wing causes such as the Spanish Jazz Rag 144 I was rather cool in African Americans who, in kitchen!), sounds splendidly the Big Band, has Trinkle Tinkle (Monk). The final live and ends with live recordings but with enthusiasm for, and Republicans and Popular Front my praise for their Ella album on different ways, adopted the irreverent in its versions of songs assimilated the idiom with performance of On Green Dolphin from Birdland: with an all-star knowledge of, the music. And rallies – Jewish opposition to the grounds that it was all persona of Jews. Willie ‘The Lion’ by Sophie Tucker, Slim Gaillard sincerity. His primary model is, I Street by the Davis Quintet in Dizzy Gillespie Septet in 1951 that’s how it is. Occasional right-wing regimes in the 1930s familiar, but I’m inclined to revise Smith claimed to be Jewish, his and the rest and its tribute to the think, Bigard, although he adopts 1960 reveals Trane reaching full and an oblique Body and Soul with passages of abstract analysis being understandably strong – that opinion, mainly because of business card describing him as entertainment in the Borscht a more ‘woody’ tone. Tom maturity, as what Spillett calls his own quartet in 1962. A 1954 apart, it’s a good read, clear, lively and, of course, both actively the number of times I’ve played it ‘The Hebrew Cantor’, in English Belt Catskill resorts, all mixed in Wheatley, bass, and Dave Kelbie, ‘outright innovator’. version of Don’t Blame Me with and jargon-free, but pages of supported America’s own since! John Coltrane Plays Ballads is and Yiddish, but unfortunately the with rhythm and blues and avant- guitar, produce a propulsive the Orchestra notes at of each chapter oppressed minority in employing an attractive album, Trane at his Yiddish letters were upside garde jazz! One of Hersch’s main rhythm that renders a drummer The oddity is that the second comes as a surprise, but it’s maintain its academic integrity the likes of Teddy Wilson, Lionel most melodic and accessible in down. The hip language of the themes is the hybridity of Jewish redundant. CD, of Coltrane as leader, stops clearly Trane’s ballad feature and and indicate how thorough has Hampton and Billie Holiday. 11 ballad performances from songs of and Slim culture – and there you have it! at 1961, omitting most of his the odd pairing of saxists doesn’t been Professor Hersch’s many different sessions between Gaillard was full of Jewish words In addition to the Mortons, there Impulse albums, including A Love really happen. Otherwise it’s research. For my part I was much The reasons behind the affinity 1957 and 1959. With only one and phrases and Gaillard’s lyrics RON SIMPSON are numbers from Bechet’s pen, Supreme. The only album tracks from the Miles Davis and impressed with the fact that, between Jewish original, , Trane, on tenor W.C. Handy’s, Boyd Senter’s and represented twice is – John Coltrane Quintets, with a every time I thought, ‘He really musicians/promoters and African sax throughout, mostly tackles others of the time, all lovingly understandably, with the title live My Favourite Things from needs to foreground this or that,’ American musicians are some of the more obscure crafted to form proper tracks and Naima. Africa, by a big Newport 1961 to compensate along it came, together with debatable and Hersch debates corners of the Great American compositions. Arranged sections band with French horns, tuba and for its omission from the main them, but that affinity is certainly Songbook; Why Was I Born? is much more information than I launch the soloists, who are kept euphonium, stands out among selection. there and has at least something probably the best known song had expected . on their toes by breaks and the small group performances, to do with a shared history of here. The excellent Freddie changes of rhythm - not to but the most striking track is the RON SIMPSON Hersch sets out to show that oppression. Hersch singles out Hubbard is the only other horn mention Morton’s famed ‘Spanish 1961 live performance of Chasin’ American Jews have used jazz to four Jews who, in different ways, to make a significant appearance tinge’. the Trane from the Village help create three different crossed the colour line: Mezz (on two tracks), Vanguard, fiery intensity and identities: to become more Mezzrow who famously insisted duets with Trane on one, but Great music, not so much invention matched by ’ on being put in the ‘coloured' generally these are quartet American, to emphasise their resuscitated as re-invented. relentless drumming. wing when in prison for drug performances by Miles-derived minority status and to become groups with master-bassist Paul more Jewish. In other words, offences; disc jockey Symphony HUGH LEDIGO there is no one narrative and the Sid Torin who constructed his thesis itself is less interesting than own brand of hip African- the accounts that show the American jive talk, phoney in a CLUB FOCUS contrasts within society or within way, but not seen as such by the individual. For instance, his black musicians; trumpeter Red AMERSHAM JAZZ CLUB FRIENDS OF THE UPTON JAZZ FESTIVAL JAZZ AT PROGRESS, READING accounts of Jewish Rodney, nicknamed Albino Red by At Beaconsfield Sycob FC HP9 2SE Fri Mar 10th Alan Barnes Quartet Bringing the best in live modern producers/impresarios such as Charlie Parker so that he could 8:30-11pm £10 Fri Apr 7th Jonny Boston's Hot Jazz jazz to Berkshire: Benny Goodman Mar 1 Sussex Jazz Kings Fri May 5th Dave Donohoe 3 March: Ian Shaw with Jamie Safir Mar 8 JB Jazz & Blues Band Jazz Band and Mar 15 Mike Barry's Uptown Gang Sat May 27th Jeff Barnhart/George 7 April: Arnie Somogyi’s Jump Monk Mar 22 John Maddocks Jazzmen Huxley All Stars with (Mingus/Monk tribute) Mar 29 Fenny Stompers with Skiffle Enrico Tomasso 5 May: Partikel (jazz/electronic April 5 Hot Lips From Germany fusion trio) Information: Alan - 01296425188 at Hanley Castle High School WR8 0BL 2 June: Art Themen’s New Mob 07952487397 nr. Upton-upon-Severn at 8pm Directions Quintet Email: [email protected] Tickets/Details Tel: 01684 593794 Tickets: progresstheatre.co.uk www.amershamjazzclub.co.uk Info: 07788 6666 08

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30 THE JAZZ RAG THE JAZZ RAG 31 BEGINNING TO CD LIGHT BEGINNING TO CD LIGHT

Horace Silver drums, before an interesting Unexpectedly a highlight is a RON SIMPSON’S ROUND-UP OF RECENT CDS contrast, The Prestidigitator, finds straight blues ballad, Searching for Wallington exploring Mose You, but for the most part this is This time Jordi Pujol of Fresh and into educational work. In the THE TREASURY SHOWS life on a visit to Barcelona and Allison numbers in the company for Slim Gaillard fans wondering Sound and Blue Moon has 1970s he recorded four albums series has reached Volume 21 the Trio. The of J.R. Monterose, with bass what he did in the 1960s. surpassed himself in digging out as a leader and PROJECTING ( DETS 903 9021: 2 album title is understandable, but trumpeter Jerry Lloyd sometimes obscure talent that’s worth re- AND CELEBRATION (FSR CDs, 51.26/53.09) and is aiming slightly irritating. By 1972 Ben turning quartet into quintet. The only newly recorded album hearing. Jules Farmer was 19 CD 896: 79.57) contains the two for another three. These are was perhaps not operating on full to come my way for this issue is when he signed with Imperial in he made for Catalyst. Playing with broadcasts from 1945/46 in power and the set is illuminated Probably the most stylishly a fine set from a band that lives 1959 and within a month had assured authority, Caliman is very support of selling war bonds. A by several warmly emotional, presented on reissues is also one up to its name, Harry Allen’s recorded 16 tracks: two singles much his own man, 10 of 14 Train shows up frequently and melodically inventive and of the oddest. SEARCHING All Star New York and an album. Later that year he tracks his own compositions and briefly as signature tune, there (sometimes) gentle ballad FOR YOU: THE LOST Saxophone Band. THE recorded two more singles, then 3 more by members of his are breaks for the Duke’s performances, but, with Montoliu SINGLES OF McVOUTY CANDY MEN (Arbors ARCD another in 1960 for Roulette, quartet. Though I Love You, for winning sales patter and one or in responsive support, there is 1958-1974 (Sunset Blvd SBR 19450: 67.32) is, rather oddly, then disappeared from the scene. instance, is an attractive ballad, two of the songs from Kay Davis plenty of bite in his playing, with 7905: 37.02) comes complete named after the Bricusse-Newley Did he resume his college English the general feeling of his playing and Al Hibbler are forgettable, challenging blues playing on the with a 30-page booklet with song, given a charmingly jaunty course and spend the rest of his is uncompromising, restless and but by and large you get a decent opener, Ben’s Blues, and no lack of extended contributions by Ricky treatment by Allen, when the life as a valued high school rather harsh, even when he chunk of good quality Ellington. attack on the closing Barcelona Riccardi and John Altman. The 14 number that really sets the tone teacher in Nebraska? Who switches to flute, and South The 1946 band is never cited as Shout. Slim Gaillard singles tracks (a is Four Brothers, a blistering knows? COMPLETE 1959 African pianist Hotep Cecil one of the great ones, but the bonus is a commercial recorded opener in the Al Cohn IMPERIAL RECORDINGS Barnard proves a suitable soul- brass section included Cat In April 1976 five jazzmen signed for Altman in 1990) were made arrangement. Allen’s sax team, (BMCD 877: 61.34) reveals mate. At the other extreme of Anderson, Ray Nance and to undertook for a series of small labels, deliberately in the Four Brothers Farmer as a singer of warmth and availability is Miles Davis. Do we Lawrence Brown and the saxes the Silver Session tour to Japan: apparently owned by Gaillard, format, comprises Eric Alexander maturity whose easy way with really need yet another Miles were only one step away from Charles McPherson, Barry and have only recently been re- and Grant Stewart alongside particularly memorable. Originals among others, and the uptempo numbers and reissue? That depends on the classic line-up and , Harris, Sam Jones, discovered. This is Slim Gaillard Allen on tenor and Gary Smulyan predominate, but things kick off Marty Paich who appear on one smooth approach to a ballad whether it contains previously while not Gonsalves, was and . Don with up-to-date accompaniment on baritone, with a rhythm with an unlikely mambo of the sessions, Bill Perkins and mark him very definitely as from unavailable material and, so far as excellent in his own right. Schlitten recorded them in (musicians unknown): plenty of section headed by Rossano treatment of You’re My Thrill, Sam Bob who don’t. The the school of Nat ‘King’ Cole – I can make out, AT NEWPORT Highlights include Ray Nance’s concert in different rock’n’roll, backing singers, the Sportiello. The material is varied: Figueroa’s conga making a septet album (titled Got ‘Cha) is and a very promising pupil, too. 1958 (Essential Jazz Classic ESJ vocal and Al Sears’ tenor on Just combinations: in addition to the occasional cha-cha (including, show tunes, Harry Allen originals, powerful percussion pairing with urbane and accessible, Lewis’ He’s also versatile, from Every 55699: 76.55) hasn’t been issued A-Sittin’ and A-Rockin’, the Duke’s two CDs reviewed here in bizarrely, Darktown Strutters Ball). the occasional jazz standard, Al Foster on drums. The only drumming is in the best possible Day I Have the Blues (blues-lite, in this exact form, but the main brief tribute to Joe Nanton who Elemental Music’s Xanadu reissue Some old favourites crop up – including a breathless After You’ve bonus track on a shortish CD is taste and Adams’ baritone sax but nicely done, with a fine big session has been available died on the road with the band, series there is one under the Flat Foot Floogie and Cement Mixer Gone. Allen’s arrangements are a Cedar Walton piano solo from makes the most impact. The band with the likes of Conrad complete since 2001, having and Unbooted Character, a fine name of . The Putti-Putti – and a new addition to tight, but leave plenty of room for the same session. sextet sessions, described Gozzo) to making unmemorable previously been scattered around piece of Ellingtonia never given McPherson LIVE IN TOKYO the menu of Gaillard food songs, extensive solos and rapid-fire accurately (as always) by Scott ballads almost memorable different albums. This is the enough plays. Six tracks from (906091: 60.01) finds the Parker- Baked Beans and a Bottle of Beer. exchanges. Fremeaux & Associes’ Live in Paris Yanow as ‘enjoyable’, have rather despite Henri Rene’s rather fussy outstanding, but fairly short-lived, 1942 broadcasts act as a bonus. influenced alto saxist in top form, series is sub-titled ‘La Collection more kick, Lewis being less self- string arrangements. The sextet, with Cannonball Adderley IN DENMARK 1959-1960 sounding surprisingly lyrical on des Grands Concerts Parisiens’ effacing and Jack Sheldon obscurity of tenor saxist Hadley and John Coltrane, which (Stunt Records STUCD 16022: the opening Tokyo Blue and going and that certainly applies to introducing some welcome hints Caliman is of a different order. recorded six months 74.27) is an enterprising selection on to fine ballad performances HORACE SILVER 14 of the unexpected. Incidentally, so On the road in the late 1940s, he later. The live situation (or, of tracks, many of them rarities, on East of the Sun and These FEVRIER 1959 (FA 564: 69.00). far as I can tell, these two LPs made his final albums shortly perhaps, the weight of saxophone mainly featuring Oscar Foolish Things. Harris is This is the classic Silver quintet of have not previously appeared before his death in 2010, yet he is talent around) inspires Miles into Pettiford and the Swedish outstanding in support and the his Blue Note peak, with the fiery together on CD, though Fresh little remembered, though unusually fiery playing. Ah-Leu-Cha, pianist Jan Johansson. quartet is boosted by the front line of Junior Cook and Sound previously brought out Got apparently a local legend in with frenetic drumming from Pettiford’s bass or cello is the presence of Raney for backed up by Gene ‘Cha. It’s good to find the 1950s Seattle. Three reasons suggest , is an arresting main melody instrument on five exhilarating assaults on two Taylor and . It’s classic career of pianist George themselves: the 1950s was a time opener. Later, on Bye Bye tracks with pianist Bent Axen, the bebop classics: Groovin’ High and Silver in terms of repertoire, too, Wallington being thoroughly of drugs and prison sentences for Blackbird, Davis, muted, is much opening cello treatment of Sonny Blue n’ Boogie. Also titled LIVE consisting of extended versions covered by reissues. Last year Caliman, he worked with rock more recognisable. Good value Boy setting a relaxed chamber IN TOKYO (906092: 41.51), the of five of his best known Phono brought out the complete bands as well as with such jazz bonus tracks are live broadcasts music mood that the CD never Raney CD is equally satisfying, if compositions, from The Preacher Bohemia sessions (alternative greats as Freddie Hubbard and from 1958 and 1959, all with entirely loses. Stan Getz and Joe less varied. In a trio with the to Senor Blues. The result is takes and all) plus bonuses. Now and in the early Trane, some with Cannonball. The Harris join Pettiford and always supportive Jones and consistently inventive and hard- FOUR CLASSIC ALBUMS 1980s he moved from San same question could be asked of Johansson for a fine live session Williams, Raney plays with a hitting, with a palpable sense of (Avid AMSC 1227: 2 CDs, Francisco to Washington state Duke Ellington: for instance, from Tivoli Gardens; Delta delicate and subtle melodic sense enjoyment and no lack of 81.06/78.38) adds three more Rhythm Boys’ bass Lee Gaines and effortless swing. humour, especially from Silver albums to the original release for contributes a gospel vocal on Jon Just Friends, oddly enough, is the himself, breaking up the rhythmic At the Bohemia, early at Hendricks’ words to Moanin’; in bonus track and it’s difficult to intensity of his playing with its most exciting, with the several sessions with vibist Louis see why Schlitten left it off the quotations and half-quotations youthful Donald Byrd (22) and Hjulmand Johansson makes much original album. It sets the tone from here, there and everywhere. Jackie McLean (24) striking more of an impression than for a series of glorious ballad is best remembered sparks off each other. For some Hjulmand himself; and, performances, with Anthropology as a big band drummer/leader, reason Wallington then re- unexpectedly and delightfully, the and Cherokee raising the but SEPTET AND SEXTET formed, only retaining Byrd, but album ends with brief piano temperature without losing that (Fresh Sound FSR CD 895: 74.47) Jazz for the Carriage Trade, rather versions of three Swedish folk love of melody. Also from Xanadu brings us two small groups more controlled, can still raise songs, including Ack Varmeland, is ’s debut album from albums from early in his career the temperature when Byrd and known to jazzers as Dear Old 1978, NEW BIRTH (906085: (1956/7). Though the musicians combine on Together Stockholm. GENTLE BEN 45.44), an exciting no-holds- are entirely different, the two We Wail. They’re still there for (Discmedi Blau DM 5182-02: barred chunk of hard bop, with albums follow a similar formula: Jazz at Hotchkiss, enjoyable 56.16), a re-mastered version of Berg’s committed tenor sax well accomplished West Coasters enough, but not helped by the the Ensayo album, features Ben matched by Tom Harrell’s incisive playing almost entirely originals replacement of the excellent Art Webster in the last year of his trumpet: Harrell also contributes by arrangers/band members – Taylor with on a couple of originals, Magic Carpet 32 THE JAZZ RAG THE JAZZ RAG 33 34 THE JAZZ RAG THE JAZZ RAG 35