DOCSLIB.ORG

To Read Online

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
To Read Online WESTSIDE BID IS BACK IN BUSINESS! 10 SUN-SOAKED JULY JAZZ DAYS IN BIRMINGHAM FRIDAY 16TH TO SUNDAY 25TH JULY – and it’s all free! LEN SKEAT 1937-2021 ISSUE 165 SUMMER 2021 UK £3.25 Photo by Merlin Daleman CONTENTS LEN SKEAT (1937-2021), master bassist and jazz legend, left us recently. DIGBY FAIRWEATHER sums up his career. (pages 12-13) 4 NEWS 6 I GET A KICK OUT OF… RON GEESIN, pianist/composer/writer, answers the questions 7 IN SEARCH OF LINDA LIPNACK KUEHL RON SIMPSON tracks down Billie Holiday’s tragic biographer 8 JAZZ FESTIVALS LIVE! 10 CHRIS BARBER: A PERSONAL TRIBUTE MIKE POINTON pays tribute to a great of British jazz 14 ON A BALCONY IN COPENHAGEN MIKKEL PLOUG tells RON SIMPSON about his unique CD. 16 JAZZ BRITS IN AMERICA SCOTT YANOW follows the fortunes of British jazzers Stateside 18 KING PLEASURE AND THE Photo by BISCUIT BOYS Merlin Daleman Three and a half decades in a band’s life. FIND US ON FACEBOOK 20 CD REVIEWS The Jazz Rag now has its own Facebook page. For news of upcoming festivals, gigs and releases, 32 HENRY’S BLUESLETTER features from the archives, competitions and who Saydisc’s blues history and Victoria Spivey profile knows what else, be sure to ‘like’ us. To find the page, simply enter ‘The Jazz Rag’ in the search bar 34 THE YEAR OF THE PANDEMIC RUSSELL CORBETT reviews a challenging year at the top when logged into Facebook. THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 As we were putting this magazine together the news came that Bude Jazz Festival Fax: 0121 454 9996 had been postponed for a second year. This is sad news indeed for one of the best Email: [email protected] loved and most typically British of festivals, but optimism demands that we take Web: www.jazzrag.com note of how many are going ahead. Publisher / editor: Jim Simpson Whether to plan to stage a festival or not in these strange times depends on News / features: Ron Simpson many different factors: the date, of course, but also ease of enforcing Covid- Reviews editors: Nick Hart/Charlie Moore related guidelines, flexibility of organisation and dependence on income from ticket sales (necessarily much reduced). In the circumstances we should rejoice in International editor: Yue Yang the number committed to going ahead (see pages 8-9), albeit, in many cases, with a Commercial Director: Tim Jennings limited programme and last-minute scheduling. Subscriptions & accounts: Nick Hart/Charlie Moore Designed by Nerys James On Divine Providence’s established principle of kicking a man when he’s down, the Printed by Warwick Printing jazz world (in fact, the music world) has now to cope with the problem of barriers www.warwickprinting.co.uk in Europe. No one seems quite sure how well the internationalism of our music (Brits touring the Continent, European groups and musicians playing here) will © 2021 THE JAZZ RAG. All original material including survive the pernicious influence of Brexit – but it will, in one shape or form! advertising artwork remains the sole copyright of the Publisher and may not be reproduced without permission THE JAZZ RAG 3 NEWS NEWS JAZZLEEDS IN ALEX KEEPS BUSY ACTION Saxophonist Alex Clarke is Alex Clarke with DARTINGTON SUMMER SCHOOL RETURNS JazzLeeds is quicker off the mark already looking forward to Digby Fairweather The Dartington Music Summer Advanced jazz instrumentalists Besides further courses in Artistic Director Sara Mohr- post-lockdown than most clubs. a crowded date-sheet as School and Festival resumes this will work with them in Duke experimental music, the jazz Pietsch commented, ‘After the Already there is a full weekly restrictions begin to be lifted. year on July 24 to August 21 at Ellington’s Sacred Concerts, offering continues with Peter last year it feels particularly programme in place at Seven Arts Plenty of guest spots testify Dartington Hall in Devon. This joined by Dartington’s amateur Edwards and member of the special to be bringing this year’s from May 20, with About Time, to her ability to fit in with celebrated event has been an Choir under Carol Pemberton NCU leading courses on jazz Summer School and Festival trumpeter Malcolm Strachan’s musicians in many different annual event since 1953, but of and Celia Wickham-Anderson of improvisation and jazz standards, to life. We need music more sextet. There is limited seating styles. Among her upcoming gigs course 2020 brought an enforced Black Voices. plus specialist sessions for wind than ever and I am excited to for this, as for the next four are appearances with the Ben break. Over four weeks musicians players with Steve Dummer and welcome an incredible line-up of weeks: Ian Shaw with What’s Holder Trio (Draycote Hotel, of all abilities learn in small groups Dartington is also joining forces the Magnard Ensemble and brass artists to teach and perform, all New (27), Liam Noble/Seb Rugby – May 21), Jonathan Taylor Photo by Merlin Daleman from top professionals. Each week with the creative team behind workshops with Brett Baker and of whom bring great integrity and Rochford/Tom Herbert (June 3), (Witney Jazz – June 4), her own London’s innovative Café Jason Rebello celebrating Chick deals with a specific genre: early Paul Archibald. 2021 also sees vitality to their work.’ Josephine Davies’ Satori (10) and quartet featuring T.J. Johnson BLUES AND JAZZ IN OTO. Ryoko Akama will lead Corea (June 2), Ian Shaw with music, baroque and folk, chamber the launch of a daily Open Space Byron Wallen’s Four Corners (Albrighton Jazz Club – June THE GARDENS a new course in site-specific Unfortunately the pandemic is the songs of David Bowie and music and jazz and experimental. session for participants to rest, (17). From June 24, hopefully, 6), with the Alex Voysey Blues Birmingham’s Botanical Gardens and situational performance, still having an effect with social Joni Mitchell (4/5), Joe Stilgoe explore the grounds and try restrictions are removed, with Band (Broadway Arts – June 13), have an excellent record of The fourth week brings a using found objects and natural distancing and reduced numbers, with The Entertainers featuring out new workshops and each Andrew McCormack – solo and with Tad Newton’s Jazzfriends staging music events, including remarkable collection of phenomena to create a sounding making early booking even more Giacomo Smith (8/9), Antonio week features a Future Sounds trio – the first gig to benefit. (Walnut Tree, Blisworth – June a regular appearance in the professionals to the jazz ad space, whilst multi-instrumentalist important than usual. Forcione Trio (12), Binker course aimed at opening up the Meanwhile, a Sunday afternoon 20), with the Jeremy Huggett/ Birmingham, Sandwell and experimental course. Pianist Ashley Paul and Crystabel Golding (16), Ray Gelato and conversation about music. spot for local Leeds bands, Alex Clarke Quintet (Livermeade Westside Jazz Festival. This and composer Peter Edwards Riley offer a course on free www.dartington.org the Giants (19-21) and Jim Jam currently livestream, goes live on Hotel, Torquay – July 11) and year jazz is scheduled for every makes his Dartington debut with improvisation. featuring Jim Mullen and Hamish May 23. two appearances at the Pershore Sunday afternoon in July, not only his Nu Civilisation Orchestra. www.jazzleeds.org.uk Jazz Festival, with Martin Veasey at Festival time. Before that the Stuart (26). (August 13) and with Alan Sunday afternoon programme www.ronniescotts.co.uk Quartet (14), John Maddocks’ EARLY DOORS AT Barnes (15). features blues under the banner JAZZFRIENDS MEET NEWCASTLE JAZZ Jazzmen (21) and Bix, Bunny and WAKEFIELD www.alexclarkejazz.co.uk of Henry’s Botanical Blueshouse. UP Al Fairweather CO-OP GIGS Billy, a tribute to Beiderbecke, Wakefield Jazz Club is resuming The Nitecrawlers feature on May Tad Newton’s Jazzfriends have Newcastle Jazz Co-op at the Berigan and Butterfield by a fine on the first possible date, though NO FIXED ABODE! 23 and Tipitina on May 30, with Sunday lunch-time gigs at the Globe presents the Dean septet headed by Enrico Tomasso with early timings and mandatory Club 90 at Albrighton is one of a June programme of the Catfish Walnut Tree, Blisworth, on June Stockdale Trio (May 23), (28). And additional Thursday advance booking. The first two the great survivors among jazz Kings (6), Big Jim and the Alabama 20 and July 18, in addition to Josephine Davies’ Satori (30), the concert features YolanDa Brown sessions feature local stars Rory clubs, but even so October 25, Boogie Boys (13), the Whiskey evening sessions at Olney Jazz Charlotte Keeffe Quartet (June on July 15. Ingham (May 21) and Nicola 2020, must have seemed even Brothers (20) and the David Club (July 7) and Sidcup (15). In 13); Noel Dennis Trio (27), House www.theconcordeclub.com Farnon (28). gloomier for Albrighton than Moore Blues Band (27). present circumstances four days www.wakefieldjazz.org for most other clubs – and it www.blueshouse.bigbearmusic.com of the Black Gardenia (July 4); at Festjazz in Brittany (July 22-26) Rafe’s Dilemma (11); Alter Ego 7 VIRTUAL JAZZ was pretty gloomy everywhere! CLUB CONTEST must be regarded as provisional. COLCHESTER IN October 25 should have been RONNIE’S BACK IN (18) and Leeds City Stompers www.tadnewtonsjazzfriends.com The sixth edition of the 7 Virtual JUNE a celebration of the 30th ACTION (August 6). Jazz Club’s Contest to find Colchester Jazz Club’s Sunday anniversary of the club and the From May 20 Ronnie Scott’s CLARK TRACEY musicians and raise their profile evening sessions at Marks 5th anniversary of its happy in London moves from CONCORDE ON THE ROAD IN is open for entries until June 15.
Load more

Recommended publications
  • Duke Ellington Kyle Etges Signature Recordings Cottontail
    Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the ​ band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke ​ Ellington, states that Cottontail “opened a window on the future, predicting elements to come in ​ jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & ​ ​ Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more ​ grandiose pieces with more extended forms.
    [Show full text]
  • In 191^B Played His First Professional Job. He Bought a Sax on August 3/ and Played His First Job on September 3
    PAUL BARNES 1 Reel I [of 2]--Digest-Retype June 16, 1969 Also present; Barry Martyn, Lars Edegran/ Richard B. Alien Paul Daniel Barnes, whose professional name is "Polo" Barnes/ was born November 22, 1903., in New Orleans/ Louisiana. When he was six years old, he started playing a ten cent [tin] fife. This kind of fife was popular in New Orleans. George Lewis, [Emil-e] Barnes and Sidney ^. Bechet and many others also started on the fife. In 191^B played his first professional job. He bought a sax on August 3/ and played his first job on September 3. He had a foundation from playing the fife. As a kid, he played Emile Barnes' clarinet. There were few Boehm system clarinetists then. 'PB now plays a Boehm. Around 1920 PB started playing a Boehm system clarinet, but he couldn't get the hang of it/ so he went back to the sax/ which he played until he got with big bands. He took solos on the soprano sax [and later alto sax], but not on the clarinet. He is largely self-taught. He tooT< three or four saxophone lessons from Lorenzo Tie [Jr.]. Tio was always high. PB learned clarinet from Emile Barnes. PB wanted to play like Sidney Bechet, but he couldn't get the tone. PB played tenor sax around New York/ baritone sa^( [and still occasionally alto]. [Today PB is still playing clarinet almost exclusively--RBA, June 7, 1971<] His first organized band was PB's and Lawrence Marrero's Original Diamond Orchestra. It had Bush Hall, tp/ replaced by Red Alien; Cie Frazier [d]; Lawrence [Marrero] / [bj?].
    [Show full text]
  • Jazz Services National Touring Support Scheme Data 1992 – 2011
    Jazz Services National Touring Support Scheme Data 1992 – 2011 Presented By: Steve French Computer Consultant Jazz Services 132 Southwark Street London SE1 0SW Telephone: 0207 928 9089 Email: [email protected] Website: www.jazzservices.org.uk Facebook: British Jazz Twitter:@jazzservices 15th March 2012 Table of Contents FOREWORD ......................................................................................................................... 3 1. GENERAL ACTIVITY: FINANCIAL YEARS 1992-2011.................................................... 4 1.1 TABLE 1: Data Relating to the Financial Years April to March 1992/2011 .............................. 4 1.2 TABLE 1: Notes to the figures .................................................................................................. 5 2. BAND ACTIVITY: FINANCIAL YEARS 1992-2011 ........................................................... 6 2.1 TABLE 2: Data Relating to Band Award for Financial Years April to March 1992/2011 .......... 6 2.2 TABLE 2: Notes to the figures .................................................................................................. 7 3. REGIONAL STATISTICS 1992-2011 ................................................................................ 8 3.1 TABLE 3: Number of gigs by Financial Year and Region ........................................................ 8 3.2 TABLE 4: Gigs by Financial Year and Region as a Percentage 1992-2011 ............................ 9 3.3 TABLE 5: Number of gigs by Financial Year and Region as a % 1992-2011 .......................
    [Show full text]
  • 8LJAIJ/1 Victoires Mull Changes 6 New Italian Dance Chart 7 Special: Jazz10 Off the Record26
    Goddard Out At Kiss 4 GEMA Fees Up12% 5 8LJAIJ/1 Victoires Mull Changes 6 New Italian Dance Chart 7 Special: Jazz10 Off The Record26 Europe's Music Radio Newsweekly . Volume 8 . Issue 24 . June 15, 1991. 3, US$ 5, ECU 4 New Feature: RESEARCH BIDDING POOL GROWS M&M Debuts Nielsen To Bid For Jazz Page Jazz followers get a double treat Radio Contract this week in M&M, as we high- our media research resources here light the world of jazz music (see by Hugh Fielder page11)andlauncha new and we have also submitted an monthly page covering the jazz US broadcast research firm A. C. application for the JICNAR read- radio and record industries (see Nielsen has thrown its hat into ership contract." Last year the page 10). the ring for the new joint inde- company vied unsuccessfully for Coordinated by M&M chart pendent radio/BBC audience the BARB TV audience survey. reports manager and jazzafi- research contract (RAJAR). Nielsen joins a growing list of cionado Terry Berne, this new Nielsen UK media sales exec- biddersfortheproject. A monthly page will include airplay utive Lisa Rudman confirms, spokesperson for RSGB, which reports from jazz stations/presen- "We shall definitely be in the run- currently holds the JICRAR con - ters, Top 20 album sales,the THE BEST OF FRIENDS - Old friends Cliff Richard and popular ning. We have been building up (continueson page26) Most -PlayedAlbums,reviews, Yugoslav singer Alexander Mezek relax with Phonogram executives after station/presenterprofiles,label performing their single "To A Friend" (Mercury) on Germany's most popu- marketing/promotion activities, lar game show "Wetten Dass".
    [Show full text]
  • Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK
    [Show full text]
  • Gonzo Weekly #165
    Subscribe to Gonzo Weekly http://eepurl.com/r-VTD Subscribe to Gonzo Daily http://eepurl.com/OvPez Gonzo Facebook Group https://www.facebook.com/groups/287744711294595/ Gonzo Weekly on Twitter https://twitter.com/gonzoweekly Gonzo Multimedia (UK) http://www.gonzomultimedia.co.uk/ Gonzo Multimedia (USA) http://www.gonzomultimedia.com/ 3 gave it, when we said that it was his best album since Scary Monsters back in 1980. Yes, I think that it probably was, although the 2002 album Heathen gives it a run for its money, but with the benefit of hindsight, it still lacked the hallmarks of a classic David Bowie album, mainly because it didn't break new ground. Between 1969 and 1980 Bowie released thirteen studio albums which basically defined the decade. With the possible exception of Lodger which was basically bollocks, IMHO, each of these albums not only broke new ground, but was a significant advance upon the one that came before it. Bowie defined the concept of the rock star as artist, and where he led many others followed. Each of his stylistic changes spawned a hundred imitators. In the wake of Ziggy Stardust and Aladdin Sane came dozens of glam bands, most of them totally missing the point, and schoolboys across the United My dear friends, Kingdom sported Ziggy haircuts. His plastic soul period not only persuaded his loyal legions that Luther Vandross was where it was at, but also meant that the 2016 is only a couple of weeks old, but we already high street outfitters were full of Oxford Bags and have the first major cultural event of the year.
    [Show full text]
  • ORDER FORM STOMP OFF RECORDS P.O. Box 342 York, PA
    Updated 1/31/20 ORDER FORM STOMP OFF RECORDS stompoffrecords.com P.O. Box 342 stompoff.dickbaker.org York, PA 17405 OO indicates out of print or not available in that format (if a recording is not listed, it is no longer available in any format). Please indicate quantity on ____. Quantity Quantity No. Description LP Cass. CD No. Description LP Cass. CD 1014 Limehouse Jazzband ____ OO OO 1146 Andy Stein & Friends OO ____ OO 1027 South Frisco Jazz Band, Vol. 1 OO ____ OO 1147 Black Eagle Jazz Band, Vol. 6 OO ____ OO 1035 South Frisco Jazz Band, Vol. 2 OO ____ ____ 1148 Jim Cullum Jazz Band ____ ____ ____ 1038 Scaniazz, Vol. 2 ____ OO OO 1150 Keith Nichols Dreamland Syncopators ____ OO OO 1046 Jazz O’Maniacs, Vol. 1 ____ OO OO 1153 Red Roseland Cornpickers, Vol. 4 ____ OO OO 1048 Black Eagle Jazz Band, Vol. 1 ____ OO OO 1155 Murphy, Cullum & Hot Antic Jazz Band ____ OO OO 1049 Ian Whitcomb & Dick Zimmerman, Vol. 2 ____ OO OO 1158 Marty Grosz /Keepers of the Flame ____ OO OO 1052 Neville Dickie, Vol. 1 ____ OO OO 1159 Keith Nichols ____ OO OO 1054 Black Eagle Jazz Band, Vol. 2 ____ OO OO 1160 Humphrey Lyttelton & His Band ____ OO OO 1055 Louisiana Repertory Jazz Ensemble, Vol. 2 ____ ____ ____ 1162 Ray Smith, Vol. 2 ____ OO OO 1057 Wally Rose ____ OO OO 1163 Fried Potatoes ____ OO OO 1061 Jazz Classics OO OO ____ 1165 Watergate Seven Plus One ____ OO OO 1072 David Thomas Roberts, Vol.
    [Show full text]
  • “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
    “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase.
    [Show full text]
  • Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
    June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty.
    [Show full text]
  • The Jazz Rag
    THE JAZZ RAG ISSUE 140 SPRING 2016 EARL HINES UK £3.25 CONTENTS EARL HINES A HIGHLY IMPRESSIVE NEW COLLECTION OF THE MUSIC OF THE GREAT JAZZ PIANIST - 7 CDS AND A DVD - ON STORYVILLE RECORDS IS REVIEWED ON PAGE 30. 4 NEWS 7 UPCOMING EVENTS 8 JAZZ RAG CHARTS NEW! CDS AND BOOKS SALES CHARTS 10 BIRMINGHAM-SOLIHULL JAZZ FESTIVALS LINK UP 11 BRINGING JAZZ TO THE MILLIONS JAZZ PHOTOGRAPHS AT BIRMINGHAM'S SUPER-STATION 12 26 AND COUNTING SUBSCRIBE TO THE JAZZ RAG A NEW RECORDING OF AN ESTABLISHED SHOW THE NEXT SIX EDITIONS MAILED 14 NEW BRANCH OF THE JAZZ ARCHIVE DIRECT TO YOUR DOOR FOR ONLY NJA SOUTHEND OPENS £17.50* 16 THE 50 TOP JAZZ SINGERS? Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. SCOTT YANOW COURTS CONTROVERSY OTHER SUBSCRIPTION RATES: EU £20.50 USA, CANADA, AUSTRALIA £24.50 18 JAZZ FESTIVALS Cheques / Postal orders payable to BIG BEAR MUSIC 21 REVIEW SECTION Please send to: LIVE AT SOUTHPORT, CDS AND FILM JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 FESTIVALS IN PERIL Fax: 0121 454 9996 Email: [email protected] In his latest Newsletter Chris Hodgkins, former head of Jazz Services, heads one item, ‘Ealing Jazz Festival under Threat’. He explains that the festival previously ran for eight Web: www.jazzrag.com days with 34 main stage concerts, then goes on: ‘Since outsourcing the management of the festival to a private contractor the Publisher / editor: Jim Simpson sponsorships have ended, admission charges have been introduced and now it is News / features: Ron Simpson proposed to cut the Festival to just two days.
    [Show full text]
  • Newsletternewsletter March 2015
    NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]