THE RAG

ISSUE 133 AUTUMN 2014 TIERNEY UK £3.25 SUTTON CONTENTS

TIERNEY SUTTON THE TOP AMERICAN JAZZ SINGER'S EUROPEAN TOUR INCLUDES TWO NIGHTS AT 'S (SEPTEMBER 22-23) AND COINCIDES WITH THE RELEASE OF HER NEW CD, PARIS SESSIONS, ON BFM JAZZ (REVIEW IN JAZZ RAG 134)

4 NEWS

8 UPCOMING EVENTS

10 COMPETITIONS

11 28TH AWARDS

12 A 100TH BIRTHDAY TRIBUTE FROM ROGER COTTERRILL

14 ON THE ROAD WITH THE BASIE SUBSCRIBE TO THE JAZZ RAG BAND: SCOTTY BARNHART THE NEXT SIX EDITIONS MAILED 16 LA'S JAZZ LEGACY WITH DIRECT TO YOUR DOOR FOR ONLY £17.50* 18 BIRMINGHAM JAZZ FESTIVAL Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. IN PICTURES OTHER SUBSCRIPTION RATES: EU £20.50 USA, CANADA, AUSTRALIA £24.50 20 CD REVIEWS Cheques / Postal orders payable to BIG BEAR MUSIC Please send to: 30 REMEMBERING JONAH JONES JAZZ RAG SUBSCRIPTIONS WITH SEVEN TOP TRUMPETERS PO BOX 944 | Birmingham |

* to any UK address 32 BEGINNING TO CD LIGHT

THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 28TH BRITISH JAZZ AWARDS Fax: 0121 454 9996 Once again it’s time to vote for the British Jazz Awards, since 1987 established as the Email: [email protected] ‘Jazz Oscars’, recognising the very best in British jazz talent in individual musicians and Web: www.jazzrag.com bands, plus awards to record labels for the best new and reissued CDs.

Publisher / editor: Jim Simpson On page 11 are further details of The Jazz Awards, and if you receive the magazine by News / features: Ron Simpson post, there is a postal voting form on the Carrier Sheet. These are intended as a guide Reviews editor: Russell Fletcher to your voting, but votes for musicians/bands outside the four named are allowed, even International editor: Yue Yang encouraged. Commercial Director: Tim Jennings Subscriptions & accounts: Russell Fletcher Jazz Rag is one of the main sources of votes for the British Jazz Awards and this year Designed by Nerys James the closing date of October 31st means that the winners will be announced in Jazz Rag Printed by Warwick Printing 134. Voting Forms may be obtained by email from [email protected] or you www.warwickprinting.co.uk can vote online at: www.bigbearmusic.com.

© 2013 THE JAZZ RAG. All original material including advertising artwork remains the sole copyright of the Publisher and may not be VOTES MUST BE CAST BY OCTOBER 31ST. reproduced without permission

2 THE JAZZ RAG THE JAZZ RAG 3 NEWS NEWS

Abdullah Ibrahim Dmitry Baevsky Roy Hargrove Courtney Pine

lunch-time replaces late) plus such bands as T.J. Johnson and his Jam House, Birmingham (23). On Wilber (Oct. 1), the Pasadena plenty of activity in the bar, giving Band with the Sounds of New November 20 plays Roof Orchestra (8), Courtney JAZZ ON A WINTER’S Steve Brown – from Manchester! the full schedule for Ronnie Orleans(Oct. 5) and the Chris Birmingham Town Hall at a rally Pine with House of Legends Live WEEKEND Norwegian saxophonist Marius Scott’s in Frith Street, , is Ingham Quartet celebrating for Justice for the 21 and other (15), Clare Teal (22), Ben Waters Neset made a huge impact at pretty much an impossibility. A Hoagy Carmichael (26). gigs that month are at Trio (Nov. 5), Peter White and his Despite initial reports to the Southport 2013 and now returns sampling of the main shows Tel.: 020 7439 0747 Huntingdon Hall, Worcester (8), Band (12), Celebrating Hoagy contrary, the 11th Jazz on a in a duo with tuba player Daniel comes up with Tierney Sutton www.ronniescotts.co.uk Norbreck Castle Hotel, with the Chris Ingham Quartet Winter’s Weekend at the Royal Herskedal! Also featuring on a (September 22-23), the David (22) and Live Rooms, (19), Spats Langham’s Hot Clifton Hotel, Southport, will go highly varied programme are Sanborn Trio with Joey KING PLEASURE AND Chester (29). Combination (26) and the Big ahead as usual on February 6-8. everything from Vive, a six-part a DeFrancesco and Byron Landham THE ENTENTE Tel.: 0121 454 7020 Chris Barber Band (Dec. 3). The basic programme remains cappella vocal group, to Jam (24-26), Jazz with Blue www.kingpleasureandthebiscuitboys.com Tel.: 023 8061 3989 the same, with 11 concerts Experiment, a youthful five-piece Note Blue Beat (October 1-3) CORDIALE www.theconcordeclub.com between the two main rooms of including Alexander Bone, the Stacey Kent (6-11), The Mingus King Pleasure and the Biscuit AUTUMN AT THE the hotel, plus photographic saxophonist who won the initial (20-25), Boys have three Autumn dates in CONCORDE JAZZ UNDER exhibitions, music in the bar, BBC Young Jazz Musician of the (27), (28-30), France: Espace Georges Brassens, The Concorde Club in Eastleigh GROUND workshops, talks and a Jazz Shop. Year. Stanley Clarke (November13-15), Feytiat (October 11), Le Canet has three regular jazz nights. The By 2015 the Fringe (now officially Tel.: 01704 541790 (tickets)/533771 the Steve Swallow/Carla Bley en Rousillon (31) and Nimes The Under Ground Theatre Dave Lewin Trio plays for diners so called) has grown in quantity (hotel) Quintet (17-18) and the Roy Festival (November 21). The band below Eastbourne Central on Fridays and Sunday night is and variety, with Tony Ormesher www.jazzinsouthport.co.uk Hargrove Quintet (21-22). plays the Irish Centre in Library hosts at least one jazz traditional jazz for dancing. Bands and the Alan Benzie Trio among Regulars for the Late Late Show Birmingham on August 20, event each month. On October 3 currently on the Sunday those providing music in between include the Brandon Allen followed by Festival Drayton the Quartet is a ABDULLAH IBRAHIM programme include the likes of times. The main concert Quartet (Sept. 24/Oct. 8, 9, 22, Centre (27), Borough Theatre, two-reeds, and bass IN NOVEMBER Brian White’s French Quarter All programme seems more 29), the Quentin Collins Quartet Abergavenny (October 2), combination with Julian Marc music that it’s simpler just to Stars (September 21), the Panama innovative than ever, though Serious is touring Abdullah JAZZ AT THE PALACE (Sept. 25/Oct. 15, 16, 23) and Birmingham’s Botanical Gardens Stringle, Craig Milverton and direct our readers to the Cafe Orchestra (28), the Pedigree regular favourites Ibrahim in four varied concerts in Southend-on-Sea’s 4th (3), Gwyn Hall, Neath (4), Market Steve Thompson. On November website. One concert we are Fletch’s Brew (Oct. 3, 4, 17, 18, Jazz Band with Roger Marks and Dave Newton turn up with a November. On November 15 he international festival at the Palace Theatre, Ledbury (18) and the 7 singer Gill Cook is joined by especially happy to note, 31). Sunday lunch-times feature (October 19), the Original Rabbit septet including Martin Shaw and plays the Royal Festival Hall as opens on October 17 with Jazz Nick Tomalin, Dominic Howles however, is Coleridge Goode: A Foot Spasm Band (November 16) Robert Fowler and Pete Long’s part of the EFG London Jazz Europa with the London Jazz Dear Jazz Rag and Matt Fishwick, while T.J. Celebration at the Purcell Room and the Savannah Jazz Band (23). Jazz at the Phil, with the likes of Festival with his septet Ekaya and Sinfonia conducted by John Johnson and his Band complete on November 21, a week before Then on the main jazz night on Ryan Quigley, Ray Gelato and his brand New Trio, with the Jansson, strings and , I was very happy with Ron Simpson’s sympathetic and remarkably the pre-Christmas programme the bassist’s 100th birthday. Wednesdays the Janet Seidel Alex Garnett, is a guaranteed unusual instrumentation of reeds Karen Sharp, , accurate version of our talk [Jazz Rag 131]. (December 12). www.efglondonjazzfestival.org.uk Quintet (Sept. 24) is followed by (Cleave Guyton) and cello (Noah Dominic Ashworth, Alan Barnes Tel.: 0845 680 1926 crowd-pleaser. A truly the Sammy Rimington Band with international band has been put Jackson). Saffron Walden’s new and Julian Marc Stringle. After a However, may I point out something that was not made clear – www.undergroundtheatre.co.uk concert hall, Saffron Hall, is the REMI AT FESTIVALS Cuff Billett and special guest Bob together by alto saxist Dmitry Tribute to in the probably through my ramblings. venue for his New Trio (16) and October is a good month for Baevsky, from St. afternoon, Saturday evening is is followed by intimate solo gigs festivals for the Remi Harris Trio. Derek Nash Petersburg, but -based: devoted to Alan Barnes’ new Keith Nichols was the player with the Anglo American at the Sage Gateshead (19) and The Ullapool Guitar Festival (3-4) American trumpeter Joe composition, Four Brothers and a Alliance. The pianist was American Henry Francis who happened to the Howard Assembly Room, is followed by the Callander Jazz Magnarelli, French pianist Alain Sister (Barnes, Stringle, Sharp, plus arrive in the UK around the same time as Dick Sudhalter. This has I Leeds (20). and Blues Festival (5), Beeston Jean-Marie, Greek bassist Mick Foster and Robert Fowler think, led to an error in the listing of my regular pianists. www.serious.org.uk Jazz Festival (24) and Stevington Giorgos Antoniou and drummer and the Ted Beament Trio). Sunday’s programme consists of Guitar Concert (31/Nov. 1). The third one was the other Keith – Ingham, who to my ears is the Alan Barnes Brazilian Fantasy followed by Other October dates include the inheritor of Ellis Larkins’ mantle as the supreme accompanist, as NYJO. Harp, Albrighton (14) and Marrs well as being a superb soloist, I’m particularly proud to have made Bar, Worcester (17). In November Tel.: 01702 339565/618747 his first solo and also to have been responsible for making Remi tours to such rural venues www.visitsouthend.co.uk the first two albums but the wonderful, but eventually tragic, as Clows Top Victory Hall (8), Susannah McCorkle in conjunction with him. EFG LONDON JAZZ Fold Cafe, Bransford (14), Monks Kirby Village Hall (28) and I should also point out that in the assembling of the New Paul FESTIVAL Shrawley Village Hall (29). Whiteman Orchestra, I received invaluable assistance from Laurie With a host of major concert Tel.: 0121 454 7020 Gold, brother of Harry and a fine tenor player. The playing halls in the capital and any friend of Matty Malneck was George Hurley. number of smaller and/or less AUTUMN AT RONNIE formal venues – and, apparently, SCOTT’S My thanks and best wishes to The Jazz Rag, every intention of filling them all With a programme consisting of with concerts – the EFG London a main show and a late late show CHRIS ELLIS Jazz Festival (November 14-23) every day (except Sunday when AMSTERDAM has such a range and quantity of 4 THE JAZZ RAG THE JAZZ RAG 5 NEWS NEWS

NEWS OF THE NEWS Aberystwyth Jazz Festival. Of - STABLES PROGRAMME Green Quartet (Nov. 30) and the Claire Martin Dick Laurie’s splendid Allegedly course the funnies are still there poisoned? The programme for the last four Quartet (Dec. 14). Hot News International, its (what is it about banjos?) and the months of 2014 at the Stables, Tel.: 01908 280800 www.stables.org masthead focussed more and death of ex-Temperance Seven Wavendon, has a healthy number more on the keyword HOT, is stalwart Brian Innes gives an of top-class jazz and jazz-related usually a colourful melange of opportunity to combine the sad events despite the cancellation of WAKEFIELD JAZZ serious campaigning, reviews of and comic. A true eccentric, Brian Kirk Whalum’s September 21 gig. Wakefield Jazz on Friday evenings current CDs and books, harmless gave orders – which were carried The Pasadena Roof Orchestra at Wakefield Sports Club nostalgia, egregious puns and – that he should be despatched present Puttin’ on the Ritz on presents Christine Tobin’s absurdist humour. The Summer to the strains of September 17 and the October settings of the poems of W.B. 2014 edition (Number 54, would playing Smoke Gets in Your Eyes. programme includes Dylan Yeats, Sailing to Byzantium, on you believe?) very much majors Howe’s Subterraneans with New September 26. The October in nostalgia. The big news story Doctor Jazz magazine is not Designs on Bowie’s Berlin (2), Close programme consists of the Nigel (together with the “discovery” of averse to a spot of nostalgia, to You, revisiting Nelson Riddle’s Price Trio with Alex Garnett (3), a lost Leonardo, an irreverent though its remarkable excursions song arrangements with Matt Andrew McCormack’s First Light pastiche of the Last Supper by into the past are usually scholarly Ford, the James Pearson Quintet Trio (10), Jesse Bannister’s Play Roger Limb) is the retirement of and/or challenging. Edition 225 in and the Tippett Quartet, the Out with Zoe Rahman (17), the the Elastic Band’s drummer, Rex Summer 2014 typically is a whole project masterminded by Simon Read Octet (24) and Claire Martin with the Bennett, at the early age of 93 – mixture of the historical (Karl Matt Skelton (8), and Nearly Dan (11). On October 26 A Tribute to Montpellier Cello Quartet (31). the tribute by the magazine’s Gert zur Heide’s feature on Kid Jazz’s picture researchers have the likes of Stan Greig, Bill , with Emma ’s Lighthouse Project Retirement and Pensions Officer Ory, now in its third part – they come up with a wonderful Strachan and Bob Craig outside a Johnson, and Friends (November 7) is followed by (who could that be?) claims that don’t do things by halves on photograph of solemn cafe in the Place Croix Rouge in programmes his compositions, Tommaso Starace’s Italian Short Cliff Crockett of the Severnside Doctor Jazz) and the local (New Prohibition era ladies with a Paris. The occasion: the one time including Suite for Emma, written Stories (14), the New York Brass Jazz Band is still playing drums at Orleans Jazz in Noord- banner: ‘Lips that touch liquor Sandy played with especially for the clarinettist. Band (21) and ’s 100! Elsewhere we learn of Rex’s Groningen), but the most shall never touch mine.’ at Le Vieux Colombier. As usual Other pre-Christmas events World Spirit (28). Fame (September 17) and the jazz violinist Christian Garrick part in Hitler’s downfall. Mike startling piece is by star with the SBS Newsletter, one include the Back to Basie Tel.: 01977 680542 Back to Basie Orchestra (28). (November 12) also offer Eastern Pointon’s books reviews look Randall Sandke. Was Bix Nostalgia inevitably rules on the item leads to another in a hunt Orchestra (Novemer 23) and the www.wakefieldjazz.org Cigdem Aslan (October 2) is, to European cafe music, sandwiched back on long careers in jazz with Beiderbecke Poisoned? – written in Sandy Brown Society Newsletter for information. Who is the man AJ Brown Trio (December 2). say the least, an enterprising between high-quality jazz events: the autobiographies of Chris English, as is quite often the case – along with some serious in the photograph identified by Meanwhile the monthly Live Jazz APEX JAZZ discovery, singing rebetiko, sung the Julian Joseph Trio (Oct. 20) Barber and Jim Douglas, sadly the with this Dutch magazine – historical research and the Stu Eaton as ‘nice person (no Matters on Sunday mornings The Apex in Bury St. Edmunds in the music houses of Athens, and Alan Broadbent and the Mark numbers of obituaries shows no suggests that Bix’s sudden occasional controversy. Issue 213 name)’? And what was the features such names as Gary has an excellent programme of Piraeus and Istanbul in the 1920s Nightingale Big Band (Nov. 18). sign of decreasing and a montage collapse was caused by in September 2014 features a occasion for Brown and Bechet Potter (Sept. 28), Norma jazz and world music for the – the ‘blues of the Aegean’. The Tel.: 01284 758000 of photographs looks back to the deliberately poisoned alcohol. He muddy photograph from 1949, appearing together? Winstone (Oct. 26), the Tom Autumn beginning with Georgie Budapest Cafe Orchestra led by www.theapex.co.uk Summer of 1994 at the makes a fair case, too, and Doctor probably taken by Sandy, featuring

6 THE JAZZ RAG THE JAZZ RAG 7 NEWS/UPCOMING EVENTS UPCOMING EVENTS

Bob Kerr and his Whoopee Band King Pleasure and the Biscuit Boys Tord Gustavsen Brian Dee

WATERMILL JAZZ but there’s a good programme of approaching next year’s event in UPCOMING Cornish Armada Jazz Band, the Dickie White, with an afternoon Watermill Jazz celebrates its 20th Nicola Farnon and her Musicians, a mood of combined optimism EVENTS Great Western Jazz Company, schools band concert and a anniversary with a high-quality John Petters Swing Band including and sadness. The 2014 festival has John Maddocks’ Jazz Band and headline event in the Town Hall programme at the Friends Life Julian Marc Stringle, Barry Palser’s been described as ‘one of the the Dart Valley Stompers. with the Innovations Jazz Social Club, Dorking. The Savoy Jazz including John Crocker best we have had’ and managed After the riverboat shuffle season Tel.: 01288 352005 Orchestra. Thursday evening programme and the Anglia All Star Jazz Band the difficult feat of balancing the Plymouth Jazz Club has settled For information contact continues with the Martin Speake with Bob Kerr on trumpet, plus books. The romantic island down to the regular twice a solo turns from Spike Botterill month routine at the Royal The Jump, Jive and Swing [email protected] Trio (September 18) and the setting (nicely accessible, too) and Sean Moyses. British Legion Club: first Sunday Weekend at the Norbreck Hotel, James Morton Quintet featuring always helps, of course, and the Bob and the Whoopees can be non-traditional and third Sunday Blackpool, on November 21 to The Howard Assembly Room at Andy Sheppard (25). October balance between old favourites heard at Marsden Jazz Festival on traditional. The Frog Island Jazz 24 features four bands: the Swing the Grand Theatre, Leeds, has a begins with a double bill and new bands was reckoned to October 10 and Dereham Jazz be about right. So an excellent Band features on September 21, Commanders, the Fabulous nice mix of jazz and world music presented by Tomorrow’s Boogie Boys, King Pleasure and along with the opera, classical Club on November 21 before festival is in prospect for 2015. At followed by the Fraser Weekes Warriors (2): the Ezra Collective the Biscuit Boys and the recitals and film. Monica the band’s Grand Christmas the same time festivalgoers have Quartet with Claire Hoinville and Nerija. October 9 sees Revolutionaires. Vasconcelos (October 16), the Show at the Half Moon, Putney, been saddened by news of the (October 5), Chris Pearce’s Georgia Mancio joined by Claire www.ventureawaymusicweekends.co.uk Tord Gustavsen Ensemble on December 14. death of trumpeter/bandleader Frenchmen Street (19), Martin and Joe Stilgoe in the (November 8) and Abdullah www.stradjazz.net Phil Mason, founding father of the Ellingtonia (November 2) and ReVoice! Festival. The rest of the The Chipping Norton Jazz and Ibrahim (20) are among the festival. John Maddocks’ Jazzmen (16). month features the James www.plymouth-jazz-club.org.uk Music Festival rejoices in the names on the Autumn LATE NIGHTS AT www.butejazz.com Pearson Trio with A Portrait of acronym of CJAM. A full one-day programme. Graham Brook is celebrating ten great for Christmas shopping! As (16), Tim Garland’s The series of fundraising festival (September 28 – from 11 Tel.: 0844 848 2700 years of weekly jazz in Wilmslow for the jazz, the Denise Lawrence Lighthouse (23) and Art Themen The series of Late Night Jazz JAZZ POSTERS concerts at Loughton Methodist am to closing time) – features www.operanorth.co.uk/howard- with his ongoing Tuesday Jazz and Band is joined by reedman Ron with the John Donaldson Trio concerts at the Elgar Room of EXHIBITION Church for the National Jazz Spats Langham, Fiddlebop and assembly-room Swing at the Conservative Club. Drake, Denise and Tony also the Royal Albert Hall resumes on (30). Meanwhile Jam Sessions in Now on display at the Free Word Archive continues with a reunion Most weeks one or two horns perform as a duo and guest September 25 with the Swing association with Glenn Weston Centre, Farringdon, London (until of the Great British Jazz Band TIERNEY SUTTON team up with a local trio, most bands are Dave Stradwick’s continue on the first Sunday of Ninjas, followed by Anita Harris October 31) are 100 posters of (October 24) and Jazz Goes to the The end of September sees singer Tierney Sutton playing European often led by the redoubtable Tom Sussex Jazz Kings and Kevin the month from 2.00 pm to 5.00 (October 9), Ray Gelato (16) and top jazz musicians. Jazz lover Bob Movies with Val Wiseman and gigs accompanied by Serge Merlaud and Kevin Axt. First off is Kincaid. An exception is an Grenfell’s Jazz Giants with Matt pm. the Lauren Bush Quartet (23). Mytton of the design agency Digby Fairweather’s Half Dozen Ronnie Scott’s in London (22-23), followed by the Blue Note, Milan appearance by Brian Dee on Palmer. Tel.: 07415 815784 November is given over to four Mytton Williams embarked upon (25). October 7. Regulars include John Tel.: Reservations, 01753 252800 www.watermilljazz.co.uk concerts for the EFG London (24), Bix Jazzclub, Stuttgart (26) and Jazzclub Hannover (27). the ambitious project of www.nationaljazzarchive.org.uk/events Hallam (October 14) and the Jazz Festival (16-20) highlighting Tierney's latest , Paris Sessions, is newly released on the BFM The Plough and Attic Rooms in exploring creativity by creating a Julie Edwards/Kevin Dearden an international selection of up- Jazz label, now distributed in the UK by Discovery Records. the village of Rusper, near BOB KERR AT poster daily for 100 days – and Autumn Jazz Weekend at the www.TierneySutton.com and-coming singers. Gentlemen of Quartet (21). And look out for Horsham in Sussex, stage a mini STRADBROKE this is the result! Falcon Hotel, Bude (October 24- Greg Abate guesting with the Jazz (December 11) sees the 26), features Roger Marks’ Jazz and Blues Festival on The 14th Stradbroke Real Ale Theo Jackson Trio paying tribute Brownfield/Byrne Quintet on September 28. Running from 2.00 Tierney Sutton November 11. The Sinatra and Jazz Festival takes place to the great male singers (a Spats Langham until 9.00 with a hog roast to under the auspices of the varied list in the publicity cites Swingers appear at the Cheadle accompany the music, the festival inimitable Bob Kerr on Nat ‘King’ Cole, Mel Torme, Chet Hulme Conservative Club on the features four bands, with the September 27 and 28. Stradbroke Baker and Jon Hendricks) and the first Thursday of each month, gypsy jazz of the Johnny Hepbir is a small village on the pre-Christmas season finishes with Debbie Wilson appearing Quartet headlining. Also on the Norfolk/Suffolk border between with Alexander Stewart (18). Also with them on October 2. bill are blues from Smokestack, Norwich and Ipswich, near the at the Royal Albert Hall the Verdi Tel.: 01625 528336 Latin jazz from Raul D’Oliveira market town of Diss. The festival Italian Kitchen offers Sunday www.facebook.com/grahambrookjazz and friends and funky jazz from features four or five sessions on Brunch with Jazz and Live Music L’Escargots Trois. each of the days in the on Saturday lunch-times (not The final jazz weekend of 2014 in Community Centre, though Bob every week, so check dates). Denise and Tony Lawrence’s Dick Laurie and the Elastic Band’s encourages a Friday night arrival www.royalalberthall.com crowded programme comes on regular schedule of first and last to sample the village’s three November 14-17 when the Sundays of the month at the Half pubs: free parking is available for ISLE OF BUTE JAZZ Lawrences and their guests move Moon in Putney is disturbed in caravans and campers. As for the FESTIVAL into the 4-star Castle Hotel in October. Because of a charity jazz, unsurprisingly, the main Windsor. Always alert to their event October 5 is to be attraction is Musical Mayhem The organisers of the Isle of Bute patrons’ other interests, the replaced by October 12. with Bob Kerr’s Whoopee Band, Jazz Festival (May 1-4 2015) are Lawrences suggest the town is Tel.: 020 3674 3549 8 THE JAZZ RAG THE JAZZ RAG 9 COMPETITIONS 28TH BRITISH JAZZ AWARDS SUPER PRIZES TO Diana Krall 28TH BRITISH JAZZ AWARDS BE WON! YOUR CHANCE TO VOTE ver the years the British This year the full Voting Form and Roy votes for alto sax and tenor sax Just answer the questions correctly and send your answers to Jazz Rag Jazz Awards, in their appears on the carrier sheet of Williams; between Alan Barnes respectively. Are Dave Green and Competitions, PO Box 944, Edgbaston, Birmingham, B16 8UT. Please Ovarious formats, have this magazine, together with a and in the clarinet Jim Mullen proof against the write the name of the relevant competition in the top left hand corner honoured what is best in British form for those who wish to vote category; between Dave Newton claims of the next generation? of your postcard, envelope or sheet of paper. If possible, add your jazz, with occasional appearances by post. Those of you who don’t and Gareth Williams; between No generational conflict in Rising telephone number or email as well as your address. from greats from across the receive the magazine by post can Steve Brown and ; Star, of course, where Closing date: 7th November, 2014 Atlantic such as and get a list of nominations by between Claire Martin, Liane saxophonist Trish Clowes made Sir Charles Thompson. Always, by emailing Carroll and Tina May. Will anyone the early running, as did Back to challenge Alan Barnes’ dominance Basie and Brass Jaw, ante-post COLERIDGE GOODE BOOK concentrating on quality rather [email protected] or of the alto sax category? Will Jim favourites both, in the Big Two of the prizes celebrate the 100th birthday of Coleridge Goode. than fashion, the awards have simply cast votes at the same Hart see off the challenge of the Band/Small Group categories. Northway Books have generously provided TWO copies of his 2002 been highly valued in the world email address without regard to autobiography, Bass Lines. the panel’s nominations. baritone saxists in the of jazz musicians. Miscellaneous category? Possibly The closing date for voting is October 31st, 2014, and 1. Supply the missing name, the leader of the quartet: , The British Jazz Awards consist admirers of Alan Barnes and Jazz Rag has been increasingly results will be announced in Lauderic Caton, Coleridge Goode,... of 16 categories: Karen Sharp may be saving their important in the voting process, Jazz Rag 134. with a healthy percentage of the Trumpet; Trombone; Clarinet; 2. Coleridge is particularly well known for his musical association with votes cast by readers of this which pioneer of free form jazz? Alto sax; Tenor sax; Piano; magazine. The first stage in the Guitar; ; Drums; process, however, is the COLERIDGE GOODE CELEBRATION Miscellaneous Instrument; Vocals; nomination of four top choices Rising Star; Big Band; Small Serious and the London Jazz Festival offer ONE pair of tickets for the by a distinguished panel of jazz Group; Best New CD; Best Coleridge Goode 100th Birthday Celebration Concert at the Purcell experts. These nominations form Reissue. Room on November 21st. the basis for many people’s votes, though we always emphasise that As we collate the choices of the 1. Coleridge originally came to the UK in 1934 for a non-musical there is no rule against voting for nomination panel, various familiar purpose – what? musicians outside the nominated battles are taking place: between four – in fact, it is something we Bruce Adams, Steve Waterman 2. During the 1960s and 1970s Coleridge worked extensively with British Jazz Awards 2013 Photo by Merlin Daleman which pianist/arranger/composer who died in 2011? actively encourage. and Enrico Tomasso; between

POLLY GIBBONS CD CHRIS BARBER STILL BLOWING STRONG AFTER 60 YEARS Diving Duck are offering THREE copies of My Own Company, the new Atlantic and paved the way, not only for Lonnie Donegan’s solo career, The Chris Barber Jazz Band of 1953 was a six piece line up. These days but also for USA concert appearances by Chris Barber’s Jazz Band. So, as - known as The Big Chris Barber Band - it is ten in number. Chris’ CD by acclaimed young singer Polly Gibbons. Chris Barber OBE this year celebrates his Diamond Jubilee as leader of we can see, Chris Barber’s Band were ‘taking coals to Newcastle’ several explanation for that is interesting: “Throughout the years we have always his band on a full-time professional basis. In fact his career began even years before The Beatles were acclaimed (and honoured!) for similar enjoyed playing the music of . From time to time we have 1. Polly Gibbons writes much of her own material, but which famous earlier - in 1949 – when he started his first amateur band which included achievements. brought to the artistes we admire and who would enable us to Alexis Korner on guitar. Little could either Chris or Alexis have known perform larger arrangements than could be achieved by a six-piece band. jazz singer wrote Don't Explain which appears on the album? Chris Barber, from out of his own pocket, financed the introduction to the that they were destined, in their respective ways, to become major figures For example we have been joined in the past by Wild Bill Davidson (piano) UK and Europe, of numerous American artistes. The UK promoters weren’t in bringing blues and gospel music to audiences of the UK and Europe. 2. Polly sings often at Ronnie Scott's and the club's MD heads the interested because the band was selling out “without the need for guests”! and Russell Procope (saxes) for the ‘Echoes Of Ellington’ tour. Then there was (piano) with Trummy Young (trombone) on the ‘Swing Is accompanying group on the album. Who is he? That first band, known as Chris Barber’s New Orleans Jazz Band, gave way The first visiting artistes to appear with Chris Barber’s Jazz Band arrived to Chris Barber’s Jazz Band who played their first professional engagement in 1958 in the form of Sonny Terry & Brownie McGhee. Sister Rosetta Here Tour’. We now have, amongst our eleven, Bob Hunt – a student of in December 1953 following a spell when known as ’s Jazzmen. Tharpe followed shortly afterwards. Tommy Tucker, Alvin Alcorn, Professor The Duke’s music, a fine arranger of The Duke’s music and, into the JAY AND KAI TRIBUTE CD WINNERS & ANSWERS This ‘co-operative’ band gave it Ken’s name because he had gained Alex Bradford, James Cotton & Dr John are just a few examples of U.S. bargain, is the proud owner of a trombone once the property of Ellington Mark Nightingale and Alistair White pay tribute to the great trombone publicity by jumping ship in New Orleans to play his trumpet alongside artistes introduced to Europe by Chris Barber in the ensuing years. trombonist ‘Tricky’ Sam Nanton! So we can all play those Ellington NO. 132 many of the local pioneers of the music. A policy disagreement led to the arrangements whenever we (or the audience) feel like it!” pairing of Jay and Kai on Woodville's The Sound of Jay and Kai. Jazz Rag During this time the bands of Chris Barber have been enriched by those band ‘voting out’ Ken and he was replaced by Pat Halcox who remained is lucky enough to have THREE copies. NINA ON CD experiences and influences. On record, Chris’ career has been skillfully Brownie McGhee wrote ‘Memories Of My Trip’ back in 1958 as a ‘Thank with the band until his retirement in 2008. Congratulations to: MRS MAVIS MORTON of Oadby, encapsulated by Proper Records with their Double CD release ‘Memories You’ to Chris and his band after that first ground-breaking tour. Well, 1. 70 years ago, in 1944, J. J. Johnson took part in what historic all-star Leicester; MR A CHARLTON of Darlington and E.BRUINS of By 1954 Chris Barber’s Jazz Band was performing at major concert venues Of My Trip’ (PRP CD 073). The aforementioned historical encounters are Chris Barber’s OWN ‘trip’ has so far extended well beyond 60 years and you can bet he’ll still be ‘blowing strong’ at his Diamond Jubilee Concerts! concert which was organised by and led to many such as The Royal Festival Hall and their first LP ‘New Orleans Joys’ reflected on this recording, along with more recent collaborations with Bussum, Netherlands. included a skiffle track, ‘Rock Island Line’ featuring their banjoist Lonnie , Paul Jones, , Andy Fairweather Low and others. national and international tours over the next three decades. /My Baby Just Cares For Me Donegan. Released as a single, it topped the charts both sides of the WITH COMPLIMENTS

3. What name is given to the 1949-50 sessions by which U PC OM ING C ONC ER T S include J. J. Johnson on 8 tracks out of 12 and on the FRESH SOUND CDs Congratulations to: MRS MARGARET BARNES of other 4? 23 November Folkestone Leas Cliff Hall 7.30pm 3 December all information on: Newcastle-on-Tyne (Jazz Couriers); MR. MEL GUEST of St. atgtickets.com/folkestone Eastleigh The Concorde Club 8.30pm www.chrisbarber.net Neots, Cambridgeshire (Arnett Cobb) and BILL CORNEL of www.theconcordeclub.com DIANA KRALL BLU-RAY 27 Barnstaple, The Queen’s Theatre 7.45pm Contact: Eagle Rock is issuing the Blu-ray version of the Diana Krall DVD Live in Saffron Walden (Howard McGhee) www.northdevontheatres.org.uk/whats-on.php 11 December Gateshead The Sage 8pm Wim Wigt Productions Ltd www.thesagegateshead.com Paris, recorded in 2001 and, in its CD form, one of Billboard's Top 10 Texas/flute and vibes 30 November afternoon [email protected] Jazz Albums of the decade. We have TWO copies for Jazz Rag readers. Royal Tunbridge Wells, High Rocks Jazzlunch 8 January DAVE GELLY BOOK www.tunbridgewellsevents.co.uk Crawley the Hawth 7.30pm www.parkwoodtheatres.co.uk 1. Diana Krall began writing songs with her husband after their Congratulations to: ALAN BRINKWORTH of Redditch; 30 November night marriage - who is he? Reading, The Mill at Sonning 8.30pm 31 January MIKE UNDERDOWN of Portsmouth and MARTIN LITTON boxoffice.millatsonning.com Doncaster The Cast in Doncaster7.30 pm of Hay-on-Wye www.thecastindoncaster.com 2. In 2002 Diana lost two of her main mentors, a great jazz double bassist once married to and a pop (later jazz) singer or Eddie Harvey/Bad Penny Blues or African who memorably performed with . Name one of them. Waltz 10 THE JAZZ RAG THE JAZZ RAG 11 COLERIDGE GOODE: A TRIBUTE COLERIDGE GOODE: A TRIBUTE

driving hundreds of miles, usually Gullin has always been one of my The Ray COLERIDGE GOODE: A TRIBUTE , in his Vauxhall 10-4 car, favourite musicians because of Ellington touring with around the unique lyricism and delicate Quartet On November 29th COLERIDGE GOODE celebrates his 100th birthday. ROGER Sweden and in Holland and sophistication of his music, often Germany. Later he played gigs, tinged with a romanticism that COTTERRELL pays tribute to a remarkable musician and recalls working with him on his concerts and festivals throughout hints at Swedish folk traditions. autobiography. Britain and abroad with Harriott. Goode first met Gullin in In the 1960s and after, there were Stockholm while on tour with use, and also that old took stock of what became our numerous concerts of poetry Ray Ellington, loved his music and assumptions about the role of more than thirty hours of and jazz with pianist-composer got to know him. He told me each instrument in the group recorded conversations. when that how much he had liked him as a could be radically challenged. So, particular combination of art person, ‘intelligent, warm and for example, a normally His work had ranged from playing forms became popular. A lot of gentle, just as his music supporting instrument such as with , Stephane his jazz work in later years was suggested’ and ‘a thoroughly drums could sometimes become Grappelli and in with Garrick’s projects ranging good man with no evil thoughts.’ the main melody instrument in a London to recording twelve-tone from jazz in schools with But Gullin’s career was blighted performance (as in Oleo on serial music with David Mack and Michael’s trio to big choral- by heroin addiction and he died Abstract). Also it wasn’t necessary jazz choral works with Michael the more we talked, that he was orchestral works. And through young. always to have a sequence of Garrick. In the Ray Ellington someone who was fun to be the years, alongside the high solos. Instead, the instruments Quartet between 1947 and 1951 with, with broad interests, for profile musical events there were Other figures in Coleridge’s could be allowed to find a free he had been part of a group that example in politics, classical music all the workaday things that for a story stand out in similar ways. interplay, with different players achieved huge popular success and sport (especially his beloved professional musician with a Harriott is the most obvious prominent at different times. blending bebop with witty tennis), and a thoughtful, home and family to support case, though drugs were not his storms came his way. After Bass These were revolutionary ideas novelty songs. It toured, made considered view of life. could provide a steady flow of problem. Goode says in Bass Lines Lines was published in 2002, he at the start of the 1960s. As broadcasts, recorded and became reasonable income: the unsung that the altoist ‘always seemed a was surprised at the new Coleridge has often rightly said a household name. If Harriott Coleridge is a deeply dignified jobs – gigs in small clubs and man apart’ and his life, with no recognition he started to get. The to me, ‘We were ahead of our later provided the most musically man. I am sure he has suffered Coleridge with Stephane Grappelli pubs, dances, bar mitzvahs and family and few enduring human book was reviewed in many time.’ satisfying experiences, the plenty of casual racism in his life weddings. As far as I could tell, he attachments, contrasted strongly countries. Correspondence came Ellington group’s hip, quick, off- but his personality and the decade and a half ago I Goode in Britain can be was never out of musical work. It with Coleridge’s, which has been from Sweden about the Gullin Bass Lines happened initially the-wall humour and sharp experiences of his childhood and had the idea of persuading compared with in seems to have been a matter of anchored in an enduring marriage connection. Younger black British because of my longstanding musicality made it the band with youth, as well as his distinctly Coleridge Goode that he America. As the recent tributes ‘have bass, will travel’, but then in and a stable home. Whatever the jazz musicians beat a path to his A interest in Harriott’s music. which, for Goode, the most fun middle class background, have reasons, and despite his musical should tell his story in a book. In to Haden have pointed out, he later years surely there was a lot door, associating him with a When Joe died in 1973 I was was to be had. Some of the far given him a strong resilience in brilliance, Harriott died penniless some ways, the project, which invented a way to support to be said for having regular tradition they wanted to shocked by the lack of attention less glamorous aspects of life as a the face of adversity. I find it hard employment that didn’t involve in almost total isolation from the produced Bass Lines (Northway, another alto saxophonist celebrate. Academics came to in the jazz press to this event. I musician could be interesting too, to imagine what he must have felt (Ornette Coleman) who was at always being on the road. So the kind of support networks that him with questions for their 2002) came about by accident wrote a long tribute to him as I found out. I quizzed him when he came to Britain from that time also exploring relatively long-term hotel jobs are so important to most jazz research. Later, Alan Robertson’s but perhaps it is not surprising which appeared as a booklet in about the challenges and Jamaica in August 1934 to study completely unknown musical gave another welcome bit of musicians. In his conversations biography of Harriott was that the catalyst was Joe 1974. A quarter of a century later frustrations – and satisfactions – civil engineering in . It territory. In the process Haden professional security and stability. for Bass Lines, Goode presented published and many key Harriott, with whom Coleridge I decided to update it and a of holding down residencies was a permanent farewell to his invented a radically new bass Harriott and himself as recordings on which Coleridge made his best music on record, friend put me in contact with playing to diners in top hotel comfortable family home in style. Goode did something very Writing Bass Lines was an personality opposites. ‘Our minds had played started to get including the classic albums Free Coleridge. I went to see him to restaurants, doing a thoroughly Kingston. He never saw his father similar working with Harriott. education for me in many ways. It never ran along the same lines, reissued. And Michael Garrick Form and Abstract. talk about Harriott and felt a professional job in venues where again and it was nearly thirty But it is an indication of just how gave me a chance to see much except about music.’ Their continued to champion Harriott’s good ‘chemistry’ with him you couldn’t ever expect the years before he went back to broad-based Coleridge’s musical more than the public profile of a shared West Indian roots were legacy and Goode’s musicianship, It is probable that Harriott simply straight away. A few weeks after audience to clap and where the Jamaica. In our talks on tape for sensitivities were that his bass fine jazz instrumentalist (Goode not enough for a bond. as he had long been doing. could not have made those that first meeting, I had the idea repertoire had to be able to the book, and in many other playing on the great Harriott is surely one of best and most breakthrough recordings, conversations later, Coleridge quintet albums always sounds that maybe he could be cover almost anything and respected jazz bassists to have Harriott’s front line partner in In a moment of dejection as we introducing an entirely new often talked about ‘discipline’ and natural, relaxed and somehow persuaded to talk at length on everything. worked in this country). He also the quintet, the brilliant were starting to work on Bass approach to jazz, without ‘self-reliance’, and emphasised almost inevitable in its calm tape about his life, and I could showed me through his trumpeter , was a Lines Coleridge told me that he Goode’s very special abilities as a At our first meetings he was not how his father (who almost assurance. He could contribute in write it up into a book. reminiscences something of the different case. Coleridge calls him thought the innovatory bassist. Coleridge was thoroughly wholly convinced about the single-handedly established a this way to the music whatever whole rounded, complex and his best friend and Shake and his contribution of the Harriott trained in classical music (as a It seemed certain that his merits of recording his lively culture of choral music in fireworks the rest of the group very varied work life of a wife shared the Goodes’ house quintet had been completely violinist) and blessed with an experiences as a black Jamaican autobiography. He must have Kingston early in the twentieth (Shake Keane on trumpet or thorough professional who had for some time. He deserves forgotten, ‘as though we had open musical mind, so, when in making a career in jazz in Britain wondered whether it would be century) always had to ‘make his , pianist , survived for half a century in the wider recognition today. never existed’. Now those 1959 Harriott proposed to the would be interesting enough, and wise or worthwhile to commit own way’. Coming to England, Bobby Orr or on usually hazardous conditions of Coleridge often stresses Keane’s achievements, and much else in members of his group that they also that this project would be a himself to regular meetings with Coleridge realised that he had to drums, and Harriott on alto) freelance music-making. In Bass beautiful sound on flugelhorn and his long, successful career, are should use free improvisation as good way to find out more about someone he did not know well. make his own way too. As he told were setting off around him. Lines I wrote that he was a his great fluency as an improviser, securely recognised as part of part of its musical mix, his bassist the life and personality of Joe He wasn’t sure how much he me, ‘everything was difficult. You survivor – his story clearly but also that he left Britain jazz history. He is a unique and wasn’t fazed by the idea. Goode In fact, the solutions he found Harriott who – I have to admit – really wanted to reveal of himself had to make the best you could showed it. But there is also a disillusioned with the lack of much cherished figure in jazz in drew on all his musical resources were not like Haden’s and, as he was the person I most wanted to or whether I was the right of it and try to learn new ways melancholy aspect to that story recognition and the limited Britain, and he can take pride in a to work out how he could play always insists, what Harriott write about at the time. Later, person to reveal it to. And he and adapt to them.’ because a striking number of key opportunities that seemed open life in music well lived. bass lines to support that kind of called his ‘abstract music’ arose however, it was obvious that insisted to me that he didn’t figures in it were not survivors to him. For years he lived in New This quiet but determined improvisation and create quite independently of the music Goode’s eight or so years with ‘want to bore people’. But the like him. York without a work permit that Bass Lines: A Life in Jazz by approach to coping with life must something musically satisfying – of Ornette Coleman. The idea Harriott from 1958 were very far fact that our birthdays are on would have allowed him to Coleridge Goode and Roger surely have carried him through harmonically meaningful and was not that jazz should become from being the only significant almost the same date impressed He avoided the drugs that pursue his career. Cotterrell can be obtained any number of difficult times. The structured even when Harriott’s a matter of completely free part of his professional life him (‘Ah, that explains plagued the jazz world but he from determination comes across in alto saxophone and his nervous, improvisation and older styles (though he did say that in purely something’, he said) and he saw some of their effects at first Such stories throw into relief www.northwaybooks.com, very many places in the book. He quirky compositions used no pre- should be discarded. It was that musical terms it had been the sussed me out as someone who hand – especially in people he Goode’s own life journey. He price £15. In November it lugged his bass around London determined harmonies or being free from fixed harmonies most fulfilling time). It was the had written several books, worked with and admired, such would be the first to say that it will be published as an through the war years, dodging rhythms. and rhythms should be part of sheer variety of his musical though not on music, and was as drummer Phil Seamen. was not all plain sailing, but he ebook. the bombing. Then, later, he the resources a jazz group might activities that eventually seemed going to approach this idea Another such casualty was the seems to have kept a steady In this endeavour, Coleridge most fascinating when I finally seriously. For my part, I realised, carried it across Europe, often Swedish baritonist Lars Gullin. course and weathered whatever 12 THE JAZZ RAG THE JAZZ RAG 13 ON THE ROAD WITH THE BASIE BAND ON THE ROAD WITH THE BASIE BAND

someone like me who has to Scotty with Endre Rice, CBO at Marbella Jazz Festival 2004 ON THE ROAD WITH THE BASIE BAND travel. But in the final analysis, my students continue to benefit from Atlanta-born trumpeter SCOTTY BARNHART joined the Orchestra, hired by my direct experience and interaction with the greatest , in 1993 and became Director of the orchestra last year, succeeding Dennis musicians in the world. I learn Mackrel. It's fair to say that some orchestras continuing in the names of great leaders continue something each time I go on tour. in a sort of half life, with little continuity from the time of the founder. The Count Basie What can you tell me about Orchestra is nothing like that, as Scotty made clear in his fascinating answers to Jazz Rag's the current personnel of the questions about his career and what he calls CBO. band?

We have Clarence Banks on When and how did you in the African American Baptist Has the music changed in only one requirement - it has to trombone who was hired become aware of Count churches. And what is unique your time with the band and sound like Basie. If not, we will personally by Basie in 1984 and Basie's music? What to you is about CBO is how Mr. Basie have you changed its not play it. In my 20 years, the vocalist Carmen Bradford who unique about the Basie band? exploited the use of fundamental direction at all? music hasn't changed much and was hired by Basie in 1983. We dynamics and rhythmic one of the things that Grover have had several musicians such I became aware of Basie's music consistency which he arrived at The music of the Basie orchestra Mitchell did upon his becoming as baritone saxophonist John around the age of 8 or 9 while from paying very close attention has always remained the same, Director, was to go back to the Williams, retire in the last few growing up in Atlanta, Georgia. to dancers while the orchestra meaning that it encompasses the library in storage and bring back years or so. John was with CBO My parents had a great record entire history of the orchestra charts that we hadn't played in played. He never forgot that this for over 40 years. We have collection with jazz, R&B, soul, beginning in 1935. It's always decades. I have done the same Photo by Merlin Daleman music is primarily for dancing and several members such as Doug etc. and there was even more been that way and it's no thing by reaching out to people making one feel good. No matter Miller, Mike Williams, myself, and to be absolute masters of their history in the CBO. Beginning paying much more than that music that I was exposed to each different today. We always play such as the son of Billy Byers and one or two others who have how sophisticated we continue instrument. with , Sweets today, but his influence is the Sunday at our church, Ebenezer things pretty much from each he has sent me the charts that been here for at least 20 or 25 to get, I will always make sure Edison, who was a personal same...I hope we continue to Baptist, where Dr. King, Sr. was decade at all of our engagements the orchestra recorded in the years. We keep attracting younger that it can be danced to. That is What sort of a touring friend of mine, , work and make Mr. Basie and all our minister. One of the choirs whether public or private. This is 1960s but never played on the musicians who have the one of the most unique things schedule does the band have? Snooky Young, who was also a of his musicians proud. that we had, and still have there, one of the things that keeps us road from the recording Frankly necessary affinity for Basie's style personal friend, , Joe was called the M.L. King Choir, about CBO. sounding the way we do which is Basie and Basie Land. I also have and music and that's always a We tour year-round and it just Wilder, , Sonny The and they were mainly the older timeless. We still have fresh direct access to the complete good thing. It's increasingly depends on what we have done Cohn, who was a friend and who begins its Japanese tour with members of the congregation Is the band still continuous arrangements come into the library of Frank Foster and have difficult to find young musicians the year before. We can't repeat befriended me and treated me to three nights at Tokyo's Blue and used the Hammond B# from the days of Frank band and there are several of us put a few of his early and later under the age of 30 and even 40 the exact dates for tours the dinner when I was saying hello to Organ rather than the huge pipe Foster in charge? that write. In fact, we just gems back into the book. It's all who really understand and Note (September 20-22) following year and we still the orchestra after their concert organ. I believe I heard my first completed our first Christmas about keeping it fresh and admire what Basie has before playing Osaka (24), manage to cover most of the US in Atlanta in 1982, and especially Basie record in my high school The succession since Basie has recording and out of the 12 swingin'. I also have written a few contributed and what we are still Nagoya (25) and Okayama and always go to Japan each year, Pete Minger, another close and upon hearing them, I been Thad Jones, Frank Foster, arrangements, I arranged four, a arrangements that feature myself doing each night. It's not an easy (27). to Europe at least once, and also personal friend, who was one of remember saying to myself that , , couple of the other guys so that I can play on things that gig on any chair either. I've seen other parts of Asia, Canada, the greatest trumpet soloists Dates in the United States they sounded just like the gospel , and now myself. arranged three, and we used I've always liked such as I Can't master instrumentalists come in Australia, and tours are always Basie ever had. I am completely follow from Jefferson City, choir at church, but just more The orchestra has continued at some of Frank Foster's, and also Give You Anything But Love. and didn't make it for one being planned. Next year for aware of all of their work and I Missouri (October 15) to sophisticated. And when you the wishes of Mr. Basie and I had Sam Nestico contribute two. musical reason or another. This 2015 is the 80th Anniversary of You're a professor at Florida simply try to add my own abilities break down the sounds and hope to be able to pass it on to I have made it a point to orchestra has a very difficult the orchestra and we will have a Mamaroneck, New York University - how does the to whatever it is we play each harmony of our orchestra, at its the next director in 20 or 30 encourage those guys in the book, if not the most difficult, and very busy schedule and I hope (November 21) and a division of time work? night. I've studied them very core, it's really a direct extension years if I'm able to be here that orchestra who write to begin I know this for a fact as I've been we'll get back to the UK. solitary Canadian date in closely and even wrote about of the gospel choir as personified long. writing more for us and there is on the road more than once with Toronto's Koemer Hall (22). them in my book The World of Yes. I'm Professor of Jazz The Duke Ellington Orchestra, What is the future for the In December the orchestra Trumpet/Jazz Studies at Florida Jazz Trumpet, published by Hal Scotty Barnhart fronting the Count Basie Orchestra The Lincoln Center Jazz Basie band? goes east again to the State University in Tallahassee, Orchestra, and The Clayton- Leonard in 2005. I remember Venetian Macao Resort Florida. I'm in my 12th year now Hamilton Orchestra which are The future for us I believe is very when I first met Sweets in 1993 Hotel in Macao (6-7). and I love teaching. It's a part three of the top orchestras in the bright. I witness each night the at The Nice Jazz Festival, he time position so that allows me world today. The Count Basie reaction of the audiences to what walked up to me and said, 'You www.scottybarnhart.com to continue to travel and gain Orchestra has developed perhaps we are doing and it is very are sitting in the same chair I sat www.thecountbasieorchestra.com more experience that I give the tightest yet most relaxed reassuring that we are doing the in in 1938 when I was making www.facebook.com/scottybarnhart directly to my students. Any level of execution of any jazz right things. It's my responsibility eight dollars a week'.....we are www.twitter.com/scottybarnhart professional musician who orchestra in history and we are to make sure we continue to do Photo by Merlin Daleman teaches, in my opinion, should still playing in a way that no the things that Mr. Basie did such always be involved in performing others are doing. as getting the very best and/or travelling regularly so as musicians, playing this library with to keep on top of the latest What do you look for in new feeling, deep swing, and precision, developments in their profession. musicians for the band? and also continuing to freshen The road teaches us things that the book with new and you will never get from only I look for the musicians who appropriate arrangements, and being in the classroom. I normally understand the entire history of always leaving our audiences have a grad assistant to see my CBO and not just some feeling good and wanting more. students whenever I have to tour, particular period. If they can and now with the advent of demonstrate that they know the You are in a tradition of Skype, I can still give my students history of CBO, then they know great trumpeters with the their lessons, exams, etc. from how to fit in and play the Basie Basie band. anywhere in the world and it style. We don't play anything The Basie Band at Marbella Jazz Festival in 2004 with Scotty works out great. Technology has exactly how it's written and this Yes, we have had some of the Barnhart in the trumpet section really made things easier for is a crucial point. Plus they have greatest trumpeters in jazz 14 THE JAZZ RAG THE JAZZ RAG 15 ’ JAZZ LEGACY LOS ANGELES’ JAZZ LEGACY

with valve trombonist Bob 1958 leaving town when he LOS ANGELES’ JAZZ LEGACY . joined the Chico Hamilton Quintet. by SCOTT YANOW 19) (1929-88) – Baker’s mellow medium-register 27) Ornette Coleman uring the past 90 years, manager, comedian in travelling 8) (1911-79) – 13) Teddy Edwards (1924- trumpet defined cool jazz in the (1930- ) – The innovative altoist Los Angeles has carved shows, gambling house manager After spending the 1930s 2003) – Los Angeles’ resident 1950s. He was born in L.A. and spent much of the 1950s in L.A., Dout its own jazz legacy. and pimp) to become a fulltime working with a variety of tenor great moved to Southern was based there until the late working as an elevator operator The swing era was launched musician. He helped introduce Southern California bands, California by 1944 and never left 1950s. part of the time while teaching there in 1935 when Benny jazz to the West Coast before he Kenton formed his first orchestra for long. He played bop with himself music. He met Don 20) (1924-94) Goodman and his Orchestra first recorded in Chicago. in 1941 and built up a loyal Howard McGhee, jammed on Cherry and Charlie Haden in – A fine cool-toned trumpeter became a surprise sensation at audience and a challenging Central Avenue and led bands for L.A. and recorded his first two and a significant arranger, albums before causing a sensation the Palomar Ballroom. Norman 2) (1886-1973) – The repertoire that summer playing 50 years, always sounding like composer and bandleader, at New York’s Five Spot. Granz began Jazz at the early trombonist was in L.A. at the Rendezvous Ballroom in himself. Rogers’ knack for organizing Philharmonic in Los Angeles in during 1919-24, leading the first Balboa Beach. Many of his high-quality record dates kept 28) Charlie Haden (1937- 1944. Central Avenue with its recording session by a black New sidemen became leaders in the 14) Lucky Thompson (1924- many top jazz musicians busy in 2014) – The bassist moved to many clubs and vibrant nightlife Orleans band in 1921 or ’22. He 1950s cool jazz movement in L.A. 2005) – During 1946-49, the was a competitor of New York’s was also based out west with his swing-to-bop tenor-saxophonist the 1950s. L.A. in 1957, working with , Paul Bley and 52nd Street and actually lasted Creole Jazz Band during part of 9) (1907-2003) appeared on many rare but 21) (1920-84) – before officially much longer (ca. 1920-55). West the 1940s and ‘50s. – After 15 years of major exciting small-group record dates Not only was the drummer on a joining the Ornette Coleman Coast cool jazz made L.A. accomplishments, Benny Carter in Los Angeles, helping to define 3) Curtis Mosby (1888-1957) countless number of jazz, movie Quartet. What other bassist temporarily the center of jazz for moved to L.A. in 1943 where he the music of the era. part of the 1950s (although many – The drummer led his excellent and studio sessions for decades could have played so well with was based during his last 60 New Yorkers would disagree). jazz group, the Blue Blowers, in 15) Ernie Andrews (1927 - ) – and the leader of his own all-star Ornette in 1959? Haden years. Among other things, he The busy Hollywood recording local clubs. They recorded in the A bluesy swing singer, Ernie quintet, he operated the eventually returned to become was a pioneer among African- studios attracted technically late 1920s and appeared on Andrews sang nightly in Central nightclub Shelly’s Manne-Hole an influential educator at Cal Americans who played and wrote skilled jazz musicians and top screen playing a heated jazz Avenue and has been a fixture in throughout the 1960s. Arts. for the studios. arrangers who gave Southern number in 1929’s Hallelujah. L.A. (except for his time with California an excess of talent for ) for 65 years. 22) Art Pepper (1925-82) – 29) (1929-94) – After 10) (1918- decades. And yet, like Rodney 4) Paul Howard (1895-1980) Born and based near Los Angeles conquering his personal 2014) – The last active jazz Dangerfield, L.A. just doesn’t get – The tenor-saxophonist was the 16) Buddy Collette (1921- for much of his life, the altoist problems, the guitarist moved to musician who recorded before any respect. Maybe it is because leader of Paul Howard’s Quality 2010) – In addition to his jazz never seemed to play an Los Angeles in 1962 where he garde projects since the 1970s, demand for combos and swinging 1940, arranger-bandleader Gerald of the warm weather (no one Sereanders, the hottest jazz band playing on flute, tenor and uninspired chorus despite a recorded a series of gems for the and runs the prolific Nine Winds big band dates since the 1970s. Wilson lived in L.A. since the will ever freeze to death in Santa in L.A. during the late 1920s as clarinet and his work as an remarkably erratic lifestyle. He Pacific Jazz label. His label which has documented mid-1940s, cheerfully leading his Monica), the beach or can be heard on their 12 Victor educator, Collette (who spent his did everything his way musically unaccompanied solo concerts much of Los Angeles’ most 38) Carl Saunders (1942 - ) – current orchestra from 1960 Hollywood, or maybe it is due to recordings. The group included life in L.A.) helped integrate both and had a historic comeback and recordings of the 1970s adventurous music of the past 40 Although he is arguably the top Angelenos’ laidback attitudes. In (on drums) and until his recent death at age 96. the recording studios and the during his final seven years. made him forever famous in the years. jazz trumpeter in town (at least any case, this article discusses 40 trombonist Lawrence Brown. Musicians Union. jazz world. until Arturo Sandoval recently reasons why Los Angeles can be 11) Howard McGhee (1918- 23) (1925- ) – 34) (1936-2001) moved to L.A.), Saunders is fairly proud of its jazz history. 5) (1903-62) – Hite 87) – Bebop arrived in L.A. when 17) (1917– ) Leader of the Dave Pell Octet, 30) Horace Tapscott (1934- – Born in Los Angeles, Higgins obscure outside of Southern took over Howard’s band in trumpeter McGhee arrived with - After coming off the road with the definitive 1956-style band, the 99) – A very original and was on hundreds of sessions but California. His wide range (he can Each of these musicians spent an 1930. The Les Hite Orchestra, ’ group in Stan Kenton, in 1949 the bassist tenor-saxophonist is still active, inventive pianist who ranged will always be famous for his hit very high notes softly, a rare important part of their career in which made relatively few 1945. He played with Charlie persuaded the owner of the joyfully sounding like 1950s from to free jazz, connection with Ornette skill), fluency and steady flow of Los Angeles. In reality, the list recordings, appeared briefly in Parker during Bird’s stay and Lighthouse Café to feature some . Tapscott formed the Pan Afrikan Coleman. In 1989 he co-founded ideas makes him an unheralded could easily be tripled. It is many films in the 1930s, went back East in 1947, having jazz. The Lighthouse All-Stars Peoples Arkestra, working with the World Stage, a musical giant. especially painful to leave out accompanied , made a major impact on young resulted and the Lighthouse 24) Chico Hamilton (1921- and teaching a few generations of cultural center in L.A. that has such giants as trumpeters Art and was a training ground for musicians during his stay. became legendary. 2013) – The quietly inventive young L.A. musicians. He should inspired and helped teach a 39) (1952 - ) – Farmer, and Jack many up-and-coming musicians drummer was born in L.A., played have recorded more often. countless number of youngsters Equally skilled as a virtuoso Sheldon, trombonist Frank for a dozen years. 12) Dexter Gordon (1923-90) 18) (1927-96) with many of the local groups in about jazz. bassist and an arranger- Rosolino, saxophonists Jimmy – Born in L.A., the immortal – The baritonist only spent 1952- the 1940s, and in 1955 debuted 31) John Carter (1929-1991) composer, the always-smiling Giuffre, , 6) Lionel Hampton (1908- tenor was a major part of the 54 in Los Angeles but the success the Chico Hamilton Quintet, a – An avant-garde clarinetist who 35) Barbara Morrison Clayton has an endless resume and Don Menza, pianists 2002) – Before he joined Benny Central Avenue Scene during of his pianoless quartet with memorable cool jazz band with spent much of his life teaching (1949 - ) – A sassy, bluesy and topped off by his co-leadership of Hampton Hawes and Russ Goodman in 1936, Hampton was 1946-51, engaging in after-hours Chet Baker led to the wide flutist Buddy Collette and the music in L.A., Carter often often-jubilant singer, Barbara the Clayton-Hamilton Orchestra Freeman, guitarist a busy drummer in L.A. with Paul tenor battles with popularity of Cool Jazz. Before he improvising cellist Fred Katz. teamed up with cornetist Bobby Morrison can sing both low- which exclusively plays his and singer Janis Mann (who Howard, Les Hite and his own and Teddy Edwards. left town, he also led a quartet Bradford. His crowning down blues and swinging arrangements. deserves to be discovered), not orchestra (1934-36). In 1930 25) (1922-79) achievement was the five albums standards as well as anyone alive. to mention the Jazz Crusaders when Louis Armstrong recorded Howard McGhee – The bassist grew up in L.A in his Roots And Folklore series. She has been in Los Angeles for 40) Gordon Goodwin and . However few with Hite, he suggested that where he, made his first record 40 years, working constantly. (1954 - ) – The arranger’s Big would dispute the importance of Hamp play vibes on two songs, sessions for tiny local labels 32) Bobby Bradford (1934- ) Phat Band, which puts on these 40, who are discussed in making musical history. during the second half of the – An adventurous cornetist with 36) (1927 - ) – entertaining and witty shows, is roughly chronological and stylistic 1940s. Longtime residents Buddy a mellow tone, Bradford worked After his association with Stan proof that a modern jazz big order. 7) (1919-65) – Collette, trombonist Britt with Ornette Coleman before Kenton in the 1950s, the superb band can fill up clubs with young Stranded in L.A. in 1937, the Woodman and bassist Red settling in L.A. in the mid-1960s arranger-composer settled in Los fans without compromising its 1) Jelly Roll Morton (1890- pianist soon formed the King Callender helped guide his way. where his fairly melodic style Angeles where he has led one of music. 1941) – The innovative pianist, Cole Trio, began to sing, made contrasted with the more the major modern jazz big bands composer and bandleader spent radio transcriptions, became a 26) (1928-64) – abrasive playing of John Carter. since the 1980s. Scott Yanow, author of Swing, much of 1917-22 in L.A.,, a fixture on radio, and had hit The unique altoist, bass clarinetist Bebop and 9 other books period when he decided to give records. He spent the rest of his and flutist spent his formative 33) Vinny Golia (1946- ) – 37) (1945 - ) – plus 750 liner notes, can be up on his other careers (which life living in Los Angeles. years in L.A., playing with the big Golia plays as many wind A top bop-oriented tenor- contacted at included being a tailor, pool bands of Gerald Wilson and Roy instruments as Anthony Braxton, saxophonist with a huge sound, [email protected]. hustler, boxing promoter, hotel Porter, meeting Mingus, and in has performed ambitious avant- Christlieb has been in great 16 THE JAZZ RAG THE JAZZ RAG 17 BIRMINGHAM INTERNATIONAL JAZZ & BLUES FESTIVAL BIRMINGHAM INTERNATIONAL JAZZ & BLUES FESTIVAL BIRMINGHAM INTERNATIONAL JAZZ & BLUES FESTIVAL JULY 18TH TO 27TH 2014 It was Birmingham like it is only once every year, with the sounds of jazz and blues seemingly coming from around every corner, performances popping up in the most unlikely of places, the city teeming with music fans, bands from Czech Republic, France, , Italy, Lithuania, Luxembourg, Slovakia, Spain and the USA and from all parts of the UK. Fans came from all over the UK and much further afield to join the local folk in their annual jazz party. The always surprising and irrepressible tenorman Art Themen, without whom no Brum When the Jazz Festival hits, the City really can claim, as it does, that Birmingham is The Land jazz fest would be complete, jamming with of Jazz. Such a pity then, that they don’t dress the City properly to welcome the bands and the Festival Patron Digby Fairweather who had just fans from all over the world. invaded his gig.

The Budapest Ragtime Band from Hungary are regular vistors to MERLIN DALEMAN'S PHOTOGRAPHIC DIARY the Festival. Constantly on tour, entertaining audiences world-wide French singer- with their class dixieland jazz, laced with a strangely Hungarian songwriter and knockabout humour, they are not averse to the occasional display blues harmonica Jug band hotshots from Mumbles, The Rumblestrutters line up with of gymnastics. player Florence Ilenia Appicciafuoco and her boys, better known as Pepper & The Joelle and her Jellies from Rome, Festival Staff, and venue owner Siew Kuan Yap band made their after another late night jam at The Blue Piano. Birmingham debut with two stunning performances that must guarantee a re- booking for 2015.

If there’s one way to make your UK debut then it’s to make sure you get to be the hit of a major Festival. Which is exactly what Italy’s Pepper & the Jellies did with seven straight capacity shows.

Surprisingly, this was the first year that saxophonist Derek Nash has played the Birmingham International Jazz & Blues Festival, and The 19 piece Bratislava Hot surely will not be the last. On this gig he was teamed with the Serenaders from Slovakia extraordinary local guitar man Lee Jones and his Trio. found themselves up close and personal with the sell- out audience of 107 people at the tiny Electric Cinema. Here they are warming up in an adjacent alley.

The wild and wacky New Orleans Jump Band from Sotogrande in Andalucia, Spain indulge in their trademark crowd-harassment. Birmingham regulars, their nine Another newcomer to the Festival, Alligator Gumbo from Leeds, deliver a joyously eccentric performances wildly entertaining set based on 1920s New Orleans music of Armstrong, were supported by ALDI. Oliver and Morton with a goodly dose of hokum and down-home fun.

18 THE JAZZ RAG THE JAZZ RAG 19 ON RECORD REVIEWS

Sonny Rollins – Clifford Brown Quintet. The REBECCA KILGORE earned her the support of some TRIGGER ALPERT first tracks in this collection are major jazz players. On the eight by a trio with I LIKE MEN Wild Women tracks, she's backed TRIGGER HAPPY and . Rollins often by Buck Clayton's Jazz Stars, a worked with trios, which gave Arbors ARCD 19422 71.02 nine-piece that features the Fresh Sound FSR 1665 38.59 him freedom – and freedom is leader's trumpet, Dickie Wells' what Rollins is all about. Sonny is Kilgore is the current darling of trombone, Grady Tate's tenor, Trigger Alpert is not a name quoted in the accompanying the neo-mainstream set, a Dick Wellstood's piano and familiar to me but he is, booklet as saying ‘I’m just in the vocalist who hovers stylistically 's guitar. Another obviously, a man with great experimental stage’, and every somewhere between Maxine plus is that, with playing times connections because he Rollins performance might be Sullivan and , longer than was customary then persuaded , , regarded as experimental. Tracks with a warm bandstand sound, for vocal albums, she sings whole , , Tony like the 20-minute Freedom Suite nice swing sense and a clear choruses always, rather than Scott and to join are extended experiments, with concern for the lyricist’s 'coming back on the bridge'. him for this 1956 studio set; a Rollins endlessly searching. These intentions. Most often, she’s part mouth -watering prospect. He, 1958 recordings also illustrate of a team, inserting her selections The dozen shorter You Never also, used the same powers of another habit of Sonny’s, which here and there. This time, she’s Know items find her with three persuasion to enlist the might be called experimental. He carrying the whole show. Arbors groupings, two of which are led considerable arranging talents of loves to try out unusual tunes have given her a kind of ideal by the MJQ-associated Marty Paich and Dick Hyman like Someday I’ll Find You and I’ll band, a quartet with Harry Allen’s individualist pianist John Lewis. who, together with Tony Scott, I'm not aware of any other Follow My Secret Heart – both by thoughtful tenor alongside produce sparkling treatments of instances of John working as a Noel Coward – which few jazz another latter-day favourite, the the lesser known tunes of vocal accompanist, but the fact musicians would attempt. New York-domiciled Italian swing Gershwin, Rodgers and Porter. that he recorded with her again However outlandish these pianist Rossano Sportiello. The in 1981 endorses further her choices may appear, Rollins hook for the album, kicking off The music lives up to its enlightened approach. She triumphantly makes them perfect with the title track, is promise, eight delightful mid pursues her admirable whole- summary, these are essential jazz vehicles. to take songs which illuminate tempo tracks of straight ahead, SHELLY MANNE AND chorus policy throughout, but albums, every bit the equal of the distaff side’s canny uncomplicated music. The there are some excellent solo HIS MEN Miles’ more famous Blackhawk The first disc also includes a big- assessments of their male pianoless septet combining tenor spots from , on brace from two years later. Go band session arranged by Ernie counterparts. and baritone saxes, trombone, clarinet, and 's guitar. COMPLETE LIVE AT THE buy! Wilkins, although this is less trumpet, and clarinet with Sims Lewis himself stomps hardest on BLACKHAWK suitable for Sonny’s questing Critic Will Friedwald, who knows of interpretations, Kilgore at brought out Fred’s innate swing, doubling on alto, Scott on tenor the best quartet track, a classic approach. The second CD opens about these things, suggests, ease, even if she lacks the which was at the root of his and Cohn on baritone sax is an blues. Notable too is Nancy's Jazz Dynamics 010 4 CDs, with six cuts from the famous ‘Somehow in celebrating derring-do that really kicks a dancing. , Oscar exciting and unique one lyricised version of his much- 279.29 Music Inn recording with the everything that is masculine number, Allen on form and Peterson and the criminally played Degrees composition. He Predictably the solo count is high. : a session Rebecca Kilgore has managed to Sportiello its greatest attraction. underrated also wrote four other good songs Sims has never been known to ‘The band was burning up there THE CONTEMPORARY which might seem incongruous illustrate the resilience and inner contribute some fine solos, while strength of all women PETER VACHER the rhythm section of Kessel, for her to perform here. play a boring note and Joe and everything felt right’. So said LEADER but which Sonny’s eclecticism Shelly Manne of the three nights everywhere.’ Maybe so, for Brown and Stoller keeps things Wilder’s masterly muted trumpet helps to succeed. LES TOMKINS of recording that originally Kilgore has certainly archived a & moving smoothly. Properbox 186: 4CDs, whole series of meaningful yielded four Contemporary LPs 71.54/73.46/69.49/77.09 On the third CD, tracks like The Trigger Alpert by his 1959 quintet. This release Song is You and There Will Never Be pieces, ranging over Oscar Was Fred Astaire a jazz singer? includes all of those sets plus the Another You show both Sonny’s Hammerstein’s The Gentleman Is His effortless style and easy This four-CD set gets its title a Dope, with Allen emoting THE ASTAIRE STORY generous helping of bonus humour and his willingness to phrasing may well justify the from a 1958 LP called Sonny strongly, The Man I Love, Fran description. But ultimately who material that first appeared in the ignore bar-lines, threatening to Rollins and the Contemporary Landesman’s Ballad of The Sad MasterJazz 8892868: 2CDs, cares about labels when the 1980s and helps make nonsense leave the rhythm sections far Leaders. Sonny recorded that Young Men (Allen at his ethereal, 79.21/76.28 music sounds so good? of all those East Coast versus behind. The same tendencies are album in 1958 with a quartet led Getzian-best) and perhaps West Coast arguments that clear on the fourth disc in such by pianist Hampton Hawes. It was surprisingly, Goldfinger. So, an ‘Can’t act. Can’t sing. Slightly bald. TONY AUGARDE raged during the ‘50s. Indeed, performances as the 17-minute one of the last albums he made album that balances wise song Can dance a little’. These words Manne’s band are as smokingly But Not For Me and the 18-minute before he went into a self- choices with a pretty decent set (or something like them) were NANCY HARROW hot as any group then playing in imposed sabbatical, during which Lady Bird, where Rollins reels off noted by a Hollywood film New York, with the front line of he practised on the Williamsburg chorus after chorus on a never- executive about Fred Astaire’s WILD WOMEN DON'T and Bridge in . He only ending quest, complete with mad screen test. They were all wrong, sparking off one another to great returned to recording in 1962, quotations. I can’t say I can hear except perhaps for the baldness HAVE THE BLUES / YOU effect. One of joys of this set is with an album he called The much change in the recordings he bit. Fred could certainly dance NEVER KNOW that is features oodles of top- Bridge. Most of this boxed set made after his absence. Rollins and his acting was good enough form Kamuca, a rival for Tina traces Sonny’s progress from said that he had realised the for a wide range of movies. As for Fresh Sound FSR-CD 832: 77:14 Brooks and in the early 1958 up to his voluntary importance of melody but that his singing, it was just right to most underappreciated tenor retirement. The period after this had always been an important convey the witty and often ironic It's a pleasure to report that category. (It was pianist John is represented by five tracks from element in his playing – thank songs written by the likes of Cole Nancy Harrow, of whom I'm Critchinson who pointed out to 1962. goodness! Porter and the Gershwin reviewing her debut albums, me the hitherto unrealised brothers for Astaire’s films with made in 1960 and 1962, when stylistic link to . Just As the recordings only begin in This set gives an excellent Ginger Rogers. On this 1952 she was 30 and 32, is still listen.) February 1958, they omit the portrait of a short period in double album, he sings with performing and recording. In years during which Sonny Sonny’s performing life. Simon conviction and enthusiasm, 1990 she did her takes on Beatles Alongside Gordon’s peppery established himself as one of the Spillett’s 30-odd pages of backed by a sextet of top-class songs, but here her main trumpet, the band gets an extra foremost tenorists of the age – commentary supply judicious, jazzmen led by Oscar Peterson. It influence seems to be Dinah bit of bite from which he still is. He had already expert notes on the music. was a typically adventurous idea Washington. made great strides working with on piano, time and again proving Rebecca Kilgore of Norman Granz’s to team his truly world-class ranking. In Miles Davis and in the Max Roach TONY AUGARDE Astaire with jazz musicians, and it Her forthright style has certainly 20 THE JAZZ RAG THE JAZZ RAG THE JAZZ RAG THE JAZZ RAG 21 ON RECORD

work is outstanding especially on and, indeed, signature, and the soulful ballad Note session on which Monk The Likes of You. Tony Scott’s Holland’s participation on one Here With Me benefits from plays on two titles, intriguingly capricious clarinet adds a track. I was wrong. I suppose the Nash’s superb Sanborn-infused sharing the piano chores on surrealist touch. album title should have been a alto and some particularly Misterioso with - clue. The nine tracks are certainly beautiful scoring. I could go on the remainder of this session But the big plus for me is the funky, even though the rhythms but, hopefully, you get the idea. without Monk, but with Silver on unsurpassable Urbie Green, a embrace Latin, rock, soul, boogie top form, is on CD2. man heard from too little today. and even a touch of New HUGH LEDIGO His immaculate, cultured sound is Orleans. The rest of the set is not without one of the great joys of interest, although I find the Mainstream jazz and here he is in Basically, the front line is two & SONNY ROLLINS opening four titles on CD1 majestic form. Alpert proves to altos, two tenors and baritone, challenging. Monk is intriguing, be a sturdy, musicianly bassist and but the two Allen brothers (I but the French horn sounds COMPLETE RECORDINGS Shaughnessy is, as usual, a presume) share tenor duties and lugubrious and the rather gloomy trustworthy anchor. Alan Barnes augments the Friday The Thirteenth makes for an section for a track on baritone Essential Jazz Classics an endurance test. Rounding off The music is so craftily scored and another on alto. EJC55648, 2 CDs, 76.07/73.46 the titles is an air shot, Round that it gives the impression of a Midnight, with the Clifford jam session. It has the feeling that The rhythm section is excellent As you will gather, Dear Reader, Brown/Max Roach Quintet; the the title of this set is a misnomer; it was all done in first takes. What as a team and individually, and sound may be rough, but listen to still, there is some fine music to is very obvious is that all the there is not a weak soloist among the fine piano work of Richie be heard here. In order of musicians are having fun. the reed players, while Derek Powell (Bud's brother) and Bud Nash’s composition and scoring importance, you'll find Monk's himself can be heard on the JOHN MARTIN talents are accomplished and fine album from closing 52nd Street Theme along exciting. CD1 track 8, through to CD2, with Fats Navarro and Rollins. track 3; the fine soli are SAX APPEAL Things that stay in my mind after generated by not only Monk and If this music is new to you, BUY, a necessarily brief hearing are: Rollins, but by , who BUY, BUY! FUNKERDEEN the warm evocative sound of died before his promise was Gary Plumley’s wood flute on realized. And whilst you are GREG MURPHY Jazzizit Records JITCD 1460 Seville, baritone chase choruses enjoying the soloists, listen to 65:49 between Bob McKay and Alan Monk's comping, driving the Barnes in Blue For You and its horns on. Pannonica is in two I came to this CD with almost Ellingtonian riffs. Mambo forms, a nine-minute band preconceived ideas, perhaps due No. 7 is a fast-ish Latin piece with version and a superb Monk piano to Nash’s long association with an intriguing seven-four time solo. There's also a 1957 Blue

LAKE RECORDS NEW RELEASE CLARINET GUMBO KEN MATHIESON’S CLASSIC JAZZ ORCHESTRA featuring EVAN CHRISTOPHER LACD333 A tribute to the great clarinet players in the New Orleans tradition: Sidney Bechet, Jimmy Noone, , Omer Simeon, Barney Bigard, Irving Fazola. The clarinet role is undertaken by the superb New Orleans based player Evan Christopher who is given splendid support by the Classic Jazz Orchestra. Ken Mathieson’s excellent arrangements breathe new life into several well travelled tunes and illustrate just how relevant this material still is today! “Mathieson’s crisp and intelligent arrangements give an original twist to familiar tunes” The Scotsman Follow us on FACEBOOK Visit our on-line shop at www.fellside.com Distributed by Proper Distribution Ltd. If you would like more information and be placed on our mailing list please send a large SAE with two second class stamps to the address below. LAKE RECORDS, PO Box 40, Workington, CA14 3GJ, UK

22 THE JAZZ RAG THE JAZZ RAG 23 ON RECORD REVIEWS

JACK NIMITZ AND our most accomplished bone- Mark Nightingale & Alistair White solos, but there's a fine spate of quickly as possible, to launch into been invited by Goodman to and Kenny Burrell which energise FRIENDS…. men to pay their tribute and how Art, plus flavours of Shank and his own extemporizations. work alongside the immaculate the proceedings greatly but never well they have done it. Kamuca on one of the arranger's Indeed, the versions of All Blues can be entirely intimidate the 24 year old. attractive themes, Remember. and So What are almost cloth-eared. In fact, he cleverly YESTERDAY AND TODAY Nightingale transcribed a number Pianist is also heard on unrecognizable from the original combined the, then, avant-garde All Night Long, probably, edges of their tune choices from the this one. A named favourite of classic versions from 1959. with an audience-friendly ahead for the band’s aggressive Fresh Sound Records FSR5047 original recordings and added Herb's, Jim Hall fills an expert approach which kept him in attack on the, mostly, up tempos CD 78.00 more of his own, the result a rhythm role. The most Those readers familiar with business long after others had but Byrd shows a, hitherto very satisfying mix indeed. For adventurous chart is the closing Davis’ music of this period will fallen by the wayside. unsuspected, marked predilection Nimitz may perhaps be best their part, the rhythm section do People Will Say We're In Love, know exactly what to expect. for ballads on Beacon Hill session, known for his membership of their stuff ably too, not surprising wherein JG has some tempo- and New listeners should, perhaps, For me, the major flaw is the scoring heavily with sensitive Supersax, the band dedicated to with on drums, Alec mood-changing fun. proceed with caution. drummer. While the band moved treatments of such favourites as playing orchestrated versions of Dankworth at the bass and with the times, the rhythm Stella by Starlight and Polka Dots ’s solos. However, nimble pianist Graham Harvey. LES TOMKINS ALAN MUSSON remained an overpowering and and Moonbeams. he was a member of Woody They open with This Could Be the unimaginative off-beat – rather Herman’s Third Herd in 1955 and Start of Something Big, ex-J&K, MILES DAVIS LIONEL HAMPTON like chopping wood. A really enjoyable record by an later joined Stan Kenton’s their lovely fruity sound perfectly QUINTET AND HIS excellent trumpet player who, orchestra. He moved to Los captured. I’ve seen these two Notwithstanding, there are plenty perhaps, had the potential to Angeles in 1960 finding work in doing this repertoire live and the ORCHESTRA of good moments and, for the earn the accolade of ‘great’. More than two years passed LIVE AT THE ORIENTAL television, film and recording album is an excellent replica of before Evans returned to the aficionado, historical interest. studios and regular jazz club their more public play-making. THEATRE 1966 NEWLY DISCOVERED AIR JOHN MARTIN studios to record Everybody Digs sessions. Good themes, with ebullient MEETS , ROY CHECKS 1947-1948 with bassist HUGH LEDIGO solos, both men inclined to slide ELDRIDGE, ART PEPPER & Sunburn 9339880 2 CDs, and drummer . His The first nine tracks on this CD trickery and clever phrase- JIMMY GIUFFRE 42.21/49.13 Doctor Jazz DJ 012 79:07 playing here seems to have date from 1957 by a group co-led making, each demonstrating the greater depth-listen to the WONDERFUL SARAH with trombonist and timbral variety that this Phoenix Records 131611: 79:41 This release will be of interest to Nineteen forty-seven: heady days sensitive treatment of Young And FOUR CLASSIC ALBUMS feature , Kenny exceptional instrument offers. I Davis completists. Over 90 of the emerging bebop music Foolish, almost six minutes of pure Master Jazz Recordings Burrell and Oscar Pettiford, liked Nightingale’s very perky Herb Ellis was one of the first minutes of previously unissued with its daring flattened fifths and beauty. By 1959, when Portrait In Avid AMSC 1133: 2 CDs 72.56 8892869- 77:00 amongst others, and a five piece Blues On The House and Allan American jazzmen that I material. The sound quality is sharpened ninths, its angular Jazz was recorded, Evans had / 78.03 string section. The unusual Ganley’s June Time but all 12 interviewed, and only the second adequate. The session documents intervals and new kinds of bassist Scott La Faro with SINGS grouping makes for a distinctive tracks offer delights. A keeper, for guitarist. At that initial chat we the only recording by a short- phrasing. A bit blatant to latter- drummer in the trio. If ever the word enigma could be recording with the West Coast sure. discussed his second own-name lived quintet featuring Richard day ears, but tremendously applied to any musician, that inspired front-line given an La Faro was musically telepathic album, Nothing But The Blues, Davis on double bass alongside exciting then. Master Jazz Records 889270- with Evans, and a virtuoso musician is Donald Byrd. unusual backing and with the PETER VACHER which makes up half of this new Wayne Shorter, 2 CDs, 75.29/54.21 Heralded as the new Clifford strings sometimes taking the lead bassist-consider Autumn Leaves release. United with the tenor of and and includes Hamp’s band, if somewhat Brown in 1956 when these as on Softly, As In A Morning where Evans and LaFaro build a Stan Getz, the trumpet of Roy the only existing version of Who derivative, even plagiaristic, Sarah Vaughan (1924~1990) used BILL EVANS albums were recorded he went Sunrise. seemingly mutual improvisation. Eldridge, the bass of Can I Turn To. All nine tracks on epitomizes the era. Ambitious her three-octave voice as an 1961's Explorations further this two CD issue are lengthy, the arrangements, sometimes on to perplex the jazz world by instrument, allowing her to COMPLETE 1956-1962 and the drums of , he The remaining eight tracks date developed the relationship naturally said 'It was a definite shortest being over eight complex, frequently frenetic, are branching out in all sorts of improvise rather than sing the STUDIO RECORDINGS from 2007 and feature a quintet between Evans and LaFaro in that pleasure'. And that sheer pleasure minutes. Highlights include Stella executed with an apparent directions, mostly academic.. He notes as written. During 1953, with Adam Schroeder in a twin there are further examples of the shines out of each of the eight by Starlight and My Funny Valentine. abandon which belies the holds a doctorate in music, a law she agreed a recording contract baritone saxophone front-line. Amina Collected Works 348260- mental telepathy between all tracks. When Herb says 'I just fall precision needed to pull them degree and has taught music at with which Here, Nimitz’ playing brings to 4 CDs, 65:18, 72:38, 77:54, three musicians, including an into that bluesy groove', it's an The quintet was shortly to cease off. Somewhat the same might be several major American allowed her to record mind fellow saxophonist Gerry 75:12. unusual LaFaro contribution to understatement - his improvising playing standards in favour of said of the soloists who universities. His foray into "commercial" material for the Mulligan. The repertoire for both Nardis. is ultra-rhythmic and immensely more original compositions. By sometimes resort to crowd- jazz/funk with his 1974 main label, and jazz for the 1968 Davis would add electric sessions is made up of familiar Bill Evans (1929-1980) was an varied. The same can be said of raising honks and screams – not recording brought accusations of subsidiary Emarcy label, and these piano to the band and by 1969 standards and jazz classics and intensely lyrical pianist who spent The sudden death of LaFaro the soloing of Getz and Eldridge. so easy to produce on demand, a ‘sell out’ but he and Blue Note three discs are drawn from that the sound of his music was to the whole makes for a very most of his career leading a trio, changed the complexion of the I always, in particular, loved to especially if you’ve been ‘on the were smiling all the way to the source. have changed completely from all enjoyable 78 minutes listening. although recordings exist of solo trio; his successor, , hear Stan play the blues, and road’ for hours. bank with a million record sales, and combo performances. This did not try to dominate as these must be the most thrilling its previous manifestations. far outselling anything Blue Note Wonderful Sarah is drawn from ALAN MUSSON box set contains seven long- LaFaro often did and the 1962 examples of it, each outing Hamp’s critics accused him of had ever achieved or even three sessions in 1954~56, with playing records on four compact Moonbeams session saw Evans bettering those before. And such The repertoire here is mostly lacking musical integrity. Certainly envisaged. orchestras seemingly including familiar Davis fare. However MARK NIGHTINGALE/ discs, from the 1956 Riverside forced to take the lead. This was old warhorses as Tin Roof and he insisted on entertainment the kitchen sink, the repertoire through to a purely ballad session, with such Royal Garden are given wonderful Davis seemed impatient to first, expecting his musicians to These four albums are Byrd at his including Mr Wonderful, My One ALISTAIR WHITE the Verve Empathy from 1962, all delights as If You Could See Me workouts. dispense with the melodies as join the fun, but no-one who has most promising and are the best And Only and I'm In The Mood For trio sessions. Now; the next album, How My of his first sessions as leader. Love among the twenty-eight THE SOUND OF JAY & KAI Heart Sings! from the same 1962 The other original LP Donald Byrd These are Byrd’s Word, Byrd’s Eye titles, all less than three minutes New Jazz Conceptions has Evans sessions, was devoted to up- represented here is a more View, All Night Long and Byrd Blows in length and all receiving no Woodville WVCD142 69.34 supported by bassist Teddy tempo numbers. The final album disciplined affair, being Beacon Hill. Traces of Brown’s more than a cursory glance. Kotick and drummer Paul here, Empathy, featured bassist arrangements by Jimmy Giuffre influence can be heard but there Apart from the original twelve Wherever you see one jazz Motian; it seems producer Orrin and drummer to showcase Herb with a four- is, also, an identifiable Byrd sound. titles, there are a further sixteen trombonist, look away and Keepnews was persuaded to Shelly Manne, on a seemingly saxophone, four-rhythm He is confident and fluent in the titles from from the same there‘ll soon be another record Evans by way of a demo impromptu session that develops backdrop. Ellis and Giuffre were higher register and his solos are sessions, but they do little more alongside. They love to recording played over the into an entertaining one-off. close friends since being college logical, positive and exciting. than introduce Sarah’s wonderful congregate, obsessives united in telephone! There are many hints room-mates, and the quality of voice. their desire to conquer this of what was to come; the lyrical Four CDs in a strong box, the writing reflects that. With a On Byrd’s Word his partner is intractable instrument. It was Jay keyboard style and melodic comprehensive documentation reeds line-up of Giuffre plus Art Frank Foster who sounds a little Sings George Gershwin is another (Johnson) and Kai (Winding) who chords, plus the long melodic and fine music- how can you Pepper, Bud Shank and Richie uneasy with the hard bop matter, however, which was a set this trend going and plenty lines constructed in long, resist? Kamuca, the sound they make is repertoire but on most of the major project, recorded over more have sought to emulate sustained units, more akin to a magnificent. Since it's Herb's rest of the sessions he has the four sessions during April, 1957 them. So no bad thing for two of horn player. GREG MURPHY show, there are very few other immense talents of which resulted in a double-album. 24 THE JAZZ RAG THE JAZZ RAG 25 ON RECORD REVIEWS

In addition, there are other assembled by producer Orrin designed to tap into a then with , Sam Jones and behind-the-beat allegiance to the Baker-like I Fall In Love with Gershwin items recorded Keepnews) tackle the principal current interest in soundtrack and two bonus phrasing of . She Datzira crossing to the bass. between 1948 (a concert songs from Kean, a largely and cast albums, but with a jazz tracks with Miles’ rhythm opens with a quartet version of recording with less than perfect overlooked musical about the twist. Think Music For Pleasure. section, , Paul Someone To Watch Over Me, Whether Ms Datzira is the real fidelity) and 1962. The strength of Shakespearean actor Edmund Ideal background for a themed Chambers and Philly Joe Jones. complete with the verse, this and deal remains to be seen: she’s Gershwin's writing allows Sarah Kean which ran for just 92 60s-style party. the succeeding tracks adorned by certainly ambitious and maybe to take liberties with the music performances on Broadway in The decision to pair Clark with the very swingy piano of Ignasi needs to concentrate on a single (she has great fun with They Can't 1961, without leaving much of a PETER VACHER Green was inspired. Those were Terraza. Datzira moves into genre rather than try to Take That Away From Me - ‘..the mark. Given the likes of Bobby two musicians who thought with country mode with Bye Bye Love encompass them all. Look out for way you sing off-key-key-key..’) Timmons on piano, trumpeters GRANT GREEN a single mind. When listening to and then essays a touch of the Andrea Motis, another Spanish and overall the small-group Blue Mitchell and Clark Terry QUARTET these tracks sometimes one Jobims before she tackles Softly As youngster, who plays good tracks swing more than the with Tootie Heath on drums, you realises that Green solo has In A Morning Sunrise, taken at up boppish trumpet on several tempo, complete with guest tracks. string-laden orchestras. Disc #2 can assume that the playing is of OLEO finished and you are now hearing stands out for the impromptu a very high order indeed. And so Clark taking over; so seamless tenorist Scott Robinson’s gruff accompaniment. PETER VACHER ‘alternate takes’ showing Sarah at it proves, the arrangements by Essential Jazz Classics EJC are the interchanges. Clark was a her improvisatory best. , and huge loss to jazz dying at the age 55647 73.42. Thereafter Datzira and company Melba Liston eliciting the best of thirty two and, only now, being move their way through an GREG MURPHY from these fine musicians albeit canonised as a real master. Essential is not too overblown a eclectic collection of songs, on modest material. Is there Green’s reverence for Sonny THE TEXAS TENOR claim for these much sought after including Closer Walk (this with Rollins is evidenced in the RIVERSIDE JAZZ much here of genuine Blue Note sessions. It was Perico Sambeat’s classy soprano) inclusion of three of the Storyville 1038438 2CDs 65:10 STARS/JUNIOR consequence? Probably not. Green’s fate as a rising star to be and Round Midnight, the backing tenorist’s original compositions, on the up tempos, it is his JOAN CHAMORRO & 50:23 MANCE eclipsed by the emergence of the exquisite reading of My Favourite ensembles flexing according to The second part of this late, great Sonnymoon For Two, He’s A Real Things, a pre Coltrane version, her needs viz. Georgia; taken as a Free booting big-toned rough compilation is a repeat of a under whose shadow he lingered Gone Guy and Oleo, the last being JOAN CHAMORRO A JAZZ VERSION OF ‘KEAN’ which remains in the mind. duo with Chamorro on baritone edged tenor, the perfect foil for Jazzland album featuring pianist until Montgomery’s death in an alternative take to the Blue PRESENTA MAGALÍ sax. She, perhaps unwisely, / THE SOUL OF with another pack Note original. The rest of the Leicester Young’s light, smooth 1968. The jazz musician’s curse, Clark, of course, shares the DATZIRA chooses to scat on her brother’s of top studio cats in a set of sound in the Basie sax section HOLLYWOOD drugs, also, played its destructive material is unhackneyed, superior honours equally. This is straight Give Me A Break, its author movie themes, orchestrated by where he spent the 1940s. He part in delaying recognition of his standards. forward bop with a gentle Coda TR1435-GE14 61.21 offering some West Coast-ish Liston. Mance is the main solo has changed little since. Fresh Sound FSR-CD 828 70.35 impressive talent. From 1961 approach, warm, subtle and tenor before a gospelly version of voice and once again, the Blue Note used him prolifically as Green had the rare ability of Chamorro is a Spanish bassist intimate; one of the classic Wade In The Water. Last of all, her Disc One has him in company Here’s another entry in the Fresh performances are highly a studio musician often to recoup being able to retain melodic (and saxophonist) and master- marriages of mind and music. small group is augmented by the with one Tete Montoliu on piano Sound Cabinet of Curiosities and accomplished. If you’re looking his frequent financial advances invention even on the fastest mind behind this showcase for Saint Andreu Jazz Band on and a very, very good Danish an interesting conjunction of for jazz versions of Maria or The from the company. These ten numbers as on Tune Up, a perfect new vocalist Datzira, a youngster JOHN MARTIN Unchain My Heart. Surprisingly, bass/drums team. Montoliu claims some forgotten sessions. First up, Apartment or Exodus then this is tracks are from 1962 and are example of his racy style. Yet, who combines the small-voiced Chamorro is the vocalist on the Tatum as a formative influence the Riverside Jazz Stars (as for you. Formulaic music, brimming with talent; eight sides stunning though his technique is fey charm of a Stacey Kent with a BFM Jazz presents TIERNEY SUTTON

TIERNEY SUTTON IS APPEARING AT RONNIE SCOTT’S CLUB SOHO, LONdON ON 22Nd ANd 23Rd SEPTEMBER

A 6-time Grammy Nominee as both a recording artist and arranger, Tierney Sutton is often described as “a singer’s singer,” but just as often, she is described as a “musician’s singer” who uses her voice like an ‘After Blue’ (BFM24192) is Tierney’s 2013 Grammy- instrument. nominated, heartfelt homage to and features guests: Al Jarreau, , Larry Goldings, Serge Merlaud, Peter She attended Berklee College of Music in the early '90s, Erskine, Ralph Humphrey, plus the Turtle Island String Quartet in ‘Paris Sessions’ (BFM24272) is Tierney before relocating to Los Angeles in 1998, and releasing an outstanding, haunting, highly individual re-reading of Joni Sutton’s brand new album - her eleventh : intimate her debut album, ‘Introducing Tierney Sutton’. Nine Mitchell material. studio recordings of duos and trios, with French guitarist acclaimed albums have followed, including ‘Blue in Serge Merlaud and bassist Kevin Axt, which deliver Green’, her tribute to Bill Evans, in 2001. revealing reworkings of standards plus new originals - giving the celebrated singer perfect opportunity to use For the past decade she has also been an active her beguiling vocal clarity, impeccable articulation and educator. Teaching at several Los Angeles music schools, natural phrasing. “Simply a captivating listen-by- and mentoring some of music’s finest new generation of candlelight album that strikes to the heart of Tierney singers including Gretchen Parlato and Sara Gazarek. Sutton” – Dan Bilawsky, All About Jazz.

exclusive UK distribution by : DISCOVERY RECORDS LTD On 2011’s ‘American Road’ (BFM24082) Tierney 01380 728000 [email protected] presents a reinvention of the American Songbook, and the wider available from all good record retailers or buy direct from US music canon. With her band - pianist Christian Jacob, plus bass and drums - she brings her inspired vocal style to songs www.discovery-records.com including: “Shenandoah”, “On Broadway”, “Amazing Grace“, “It contact us for further information and a free BFM Jazz catalogue. Ain’t Necessarily So”, & “Somewhere”.

26 THE JAZZ RAG THE JAZZ RAG 27 ON RECORD REVIEWS

and has the technique to prove it, They are from the early Fifties from piano bass and drums, problems, Chet Baker managed AND on Roulette Records, between Chet Baker although his mature style lies and are Buddy De Franco, The nimbly negotiating chord changes to produce a large quantity of RONNIE SCOTT her contracts with Decca and more towards McCoy Tyner - Artistry of Buddy de Franco, Mr with great aplomb. Wives and highly listenable albums. But there Capitol, tends frankly, to induce a brilliant but a tad incongruous Clarinet, Pretty Moods and two Lovers is taken up-tempo, with was something extra special degree of boredom. juxtaposed with Tate’s forthright bonus tracks from Jazz Tones. Jennett unafraid to take liberties about his first-flowering period in delivery. But, by heck, it swings! with the phrasing to great effect, the early to mid-'fifties. Here's It seems she made three albums On these four albums he and fine solos from one from that period that had Fresh Sound Records FSR CD for the label. Coffee, Cigarettes And Disc Two has the saxophonist in demonstrates his command of all (tenor) and Bob Barron (piano), not reached my ears before, and 831 78:02 Memories, with orchestra a more compatible environment. the genres of that time from before the piece gently comes to it's an absolute winner. conducted by Lennie Hayton, The /Oliver blues through Latin American to a halt. The Jazz Couriers were co-led by comprises nothing but Jackson rhythm team is relaxed out and out small group swing. In September 1955, the 25-years- the two great tenorists you hear tortuously-slow ballads, and superb, while Johnny He is joined by musicians of the Jennett's total confidence in his old Chet, as a 'new star' of jazz, on this disc. Their extraordinary concerning either unrequited or Guarnieri – another virtuosic calibre of , Jimmy vocals is shown on How Long Has left the States for the first time compatibility, not to mention lost love. A mistake in itself, but This Been Going On, when the and flew to Paris. Between mastery, both of their pianist – stays well within the Raney and . Happily, sadly, Jeri's bland, if powerful, jazzmen as Gascoyne, O’Higgins, heights of those legendary vocals are on a par with the October '55 and March '56, he instruments and the modern swing tradition, often doffing his Sonny Clark, also, turns up on delivery of them is of rather pianist Graham Harvey and recordings, Cleveland emerges instrumentals with Jennett recorded the 17 tracks to be idiom of their day, produced hat at Basie’s economic touch. eleven of the thirty three tracks, limited appeal. Southern Breeze drummer Sebastiaan de Krom. from his ‘forgotten man’ limbo to seemingly walking a tightrope but heard here, with five different performances of conviction and Two septuagenarians complete a huge plus. The music is has a stellar personnel playing For example, On Green Dolphin often startling effect. Highly always ending on the correct groups, ranging from a quartet to authority. the front line: trumpeter Doc uncompromising swing and the scores by Marty Paich that could Street can be an electrifying recommended. note. It's the total confidence a nonet. Most evocative for me Cheatham, whose powers had clarinettist is constantly dazzling. not have taxed his jazz skill number but their version – Shark that Jennett has in his are the five quartet Two rhythm sections appear certainly not diminished, and the Listen to Titoro as an example of greatly. The singing is quite bright Avenue – is a rather bloodless SIMON SPILLETT improvisations that makes these performances, which totally recall here: , bass and Bill inimitable on a flawless performance. It is as but unexceptional, and only two bossa. It is interesting to hear performances - Hurry, It's Lovely the classic group of two years Eyden, drums replaced later by trombone, whose only intimation exciting as anything you will ever songs mean anything to me. how they transform familiar Up Here is a joy, whilst Oh Look At earlier that Chet had with pianist and Phil Seamen. TONY ALESS of age is a rather wobbly vocal. hear. One can only marvel at his Meets totally wastes standards, but ultimately that is Me Now has Jennett duetting with Russ Freeman - particularly since It’s probably fair to say that the unflagging invention. Left Field is the latter's abilities, and again the what the best jazz improvisations Geoff Gascoyne's bass, displaying Benoit Quersin seems to be latter team have the edge, if only LONG ISLAND SUITE There is little in the way of another vehicle for his formidable ninety per cent ballad content do anyway. because of Seamen’s distinctive arrangements beyond unison attack. such musical confidence. To echo consciously emulating that engenders impatience. Four contributions. Fresh Sound FSR 1664: 36.58 themes, but the music is kept There's Gotta Be Something Better 'rollicking' Freeman style. The bonus live tracks show she was a TONY AUGARDE alive by the creative individuality It is only when he tackles the Than This, on this standout titles and their treatments are fair pianist, and could swing The piano chair is held Pianist Tony Aless was never very of the soloists. The numbers on Blues as on Buddy’s Blues that he performance, I really can't perfect. satisfactorily if she had the throughout by Terry Shannon, not well known, even though he both discs are drawn from the sounds a little less comfortable. imagine what that might be. Five chance. Outstanding otherwise are four in the same league as his leaders played for the likes of Bunny familiar swing repertoire, and Now is the Time is his first foray stars, as they once used to write. quintet meetings with the gifted but with a nice turn of phrase in SEPTET/OCTET COMPLETE Berigan, , Charlie none the worse for that but, for into bop and he sounds LES TOMKINS Belgian tenorman . the right hand. His left-hand RECORDINGS Parker and Stan Getz. He is those who like their swing convincing. There are some gems GREG MURPHY He and Chet are clearly chordal work, however, is very probably best known for this unadulterated, the second one is on the Pretty Moods session compatible players. Four with an basic and unimaginative. GASCOYNE Essential Jazz Classics 1955 album, which consists of probably the most rewarding. where he is gently restrained on CHET BAKER octet are hot stuff, reminding me O’HIGGINS QUARTET EJC55643 (2 CDs, 76.36, eight of his compositions named If I should Lose You and Tenderly. So, what makes the band HUGH LEDIGO I GET CHET of some the same year in Paris 78.37) after areas of Long Island. He with Lionel Hampton. Overall, for significant is the brilliance of the makes sure that he has plenty of Marvellous. As Zero Mostel THE REAL NOTE VOL. 2 Baker devotees an essential horn players, their astonishing piano solos. His piano has advises in the film The Producers, Cheesecake Records 8244 : With a virtuoso technique, a BUDDY DE FRANCO purchase. empathy, their use of arranged touches of Bach on Riverhead and ‘If you’ve got it, flaunt it.’ I am 76:14 Jazzizit JITCD 1461: 59.02 warm tone and ideas aplenty passages that fuse seamlessly Basie in Valley Stream, and it happy to say Buddy flaunts it. Cleveland was the heir apparent FOUR CLASSIC ALBUMS LES TOMKINS with their improvisations and the Bassist Geoff Gascoyne and scintillates in Massapequa. Throughout his far-too-short life, of modern jazz trombone during PLUS ability to add tonal variety via saxist Dave O’Higgins return JOHN MARTIN and despite his drugs-fuelled the mid to late ‘50’s. This handy Tubby’s equally impressive vibes with a follow-up to their album double CD contains all four of The band includes many well- AVID AMSC 1135: 2 CDs and flute playing. The repertoire Got the Real Note. This CD again his EmArcy and Mercury releases known musicians, some of whom 79.41/78.17 MARK JENNETT Buddy Tate is drawn mainly from golden-age features their ‘contrafacts’ - new – the only album dates this most later became even more famous. standards, although there are compositions based on old chord of prolific sideman ever headed – Seldon Powell’s tenor sax is I have always thought that Buddy EVERYBODY SAYS DON'T three attractive Hayes’ originals sequences. Jazz musicians and are as much a feature for his pleasingly lyrical in Fire Island. de Franco got a rough deal from and one from Scott. famously created such first-call sidemen as the leader Trombonists J. J. Johnson and Kai his critics as to his status as a jazz JazzizitRecords JITCD1462- transformations during the bebop himself. Those aiding and abetting Winding appear on four tracks musician. The criticism has usually 62:40 There were many other excellent era. Here I Got Rhythm becomes I include Lucky Thompson, Art each, although it’s difficult to tell been that his playing is too musicians around at that time but Got Arrythmia and Topsy turns into Farmer and , with which. For me, the outstanding technical and cold. How can you Mark Jennett is a singer of I believe this group marked the Autopsy, although Sophisticated arrangements provided by, among soloist is guitarist Billy Bauer, be too technical? You need all the considerable ability, refreshingly coming-of-age of Britain’s Lady and Broadway remain others, Ernie Wilkins, Quincy who originally came to notice technique you can garner to give original in his treatment of items modern jazz. unscathed, and Darkness is a Jones and . Cleveland with the adventurous Lennie your interpretations full range from the Great American ‘messed up minor blues’ by also takes in a wide ranging Tristano but here fits in well with and there is certainly nothing Songbook (Sondheim, Bacharach, HUGH LEDIGO Gascoyne. The quartet follows repertoire, offering a glorious the mainstream style of the cold in the music on this CD. I Gershwin, Porter et al) as part of the bebop precedent by playing update of the Dorsey favourite arrangements. Tony Aless says would go farther and say that De a fine band with intriguing JERI SOUTHERN in post-bebop style, with Marie along the way, as well as about this album: ‘More than Franco has proved, over seven arrangements by Geoff O’Higgins’ tenor prominent. visiting compositions by Tadd anything else my concern was decades, to be the greatest Gascoyne. But most intriguing of THE WARM SINGING STYLE Dameron, Oscar Pettiford and swinging’. The music certainly clarinettist in jazz, bar none, and all is Jennett's ability to act as a Outstanding tracks include fellow ‘bone Melba Liston. With swings but it disappointingly that includes Goodman and sixth instrumentalist, improvising Fresh Sound FSR-CD 833 : 2 Dedication, a gentle ballad based equal emphasis on imaginative sticks to conventional big-band Shaw. Neither of the last named over and around the chord CDs, 63:03/ 68:58 on Andy Williams’ 1966 hit May writing (in particular that for tuba methods, with saxes or brass put more than a tentative toe sequences in a manner that Each Day; Five Moods (a gyrating specialists Don Butterfield and butting in to accompany most into the bop pool. De Franco brings to mind Mark Murphy, a Here is a problem. In the late 5/4 take on I’m in the Mood for Jay McAllister), these sessions solos. Duke Ellington, Mike Gibbs took that transition in his stride. refreshingly individual vocalist 'fifties, I recall some singles by the Love); and Broadway, an up-tempo are, as one of the sleeve note and Loose Tubes found more transposing Parker’s legacy to whose recordings are sadly Nebraska-born singer/pianist Jeri interpretation which has the writers has it, all about ‘a wholly enterprising methods of that unfashionable instrument, overlooked. Consider Are You Southern, that seemed quite passion that is lacking from much new area of jazz expression’ that arranging for a big band. the clarinet. But these four There (With Another Boy); Jennett beguiling in their way. But this of the album. We might expect emerged post-. albums are pre-bop De Franco. glides in over a gentle backdrop collection, comprising her output more fire from such talented While nothing quite scales the TONY AUGARDE 28 THE JAZZ RAG THE JAZZ RAG 29 REMEMBERING JONAH JONES REMEMBERING JONAH JONES

as suggested by her show, what a star of the trumpet Jonah two and a half minutes long but REMEMBERING JONAH JONES Peggy, Duke and Benny. Jones really is. this provides ample time for Jonah's infectiously joyful trumpet Jonah Jones (1909-2000) had a less than orthodox career in jazz. Initially he played with such I'm going to find this album very This CD features two albums, playing to become something you difficult to remove from my CD Swingin’ 'Round the World and want to listen to time and again. big bands as and , gaining such a reputation that he was player! From the moment Jonah's Jumpin’ with a Shuffle, a total of I'd like the other six CD's now rewarded with the nickname ‘King Louis II’. His career changed direction with his quartet big buttery sound filled the room 24 delicious well-known standard please! performances from the 1950s onwards. For over a decade he became one of the most popular I was hooked. tracks recorded in 1958 and 1960. Although both CD's feature and extensively recorded of jazzmen. Somehow he then moved gradually into the position of Warm toned and with a lively just a trio with Jonah on trumpet one of the forgotten men of jazz. GEORGINA JACKSON vibrato Jonah's swinging playing and occasional husky-toned would suit fans of Harry 'Sweets' vocal, the accompanying trio are Like Jonah Jones, Georgina Edison and Buck Clayton to a toe-tappingly light, swinging and To our surprise we recently received seven Jonah Jones CDs from Fresh Sound Records. To Jackson began as a big band tee. Seemingly simple big swinging tasteful, with the feel veering celebrate we asked seven top British jazz trumpeters for their comments on one of the CDs. trumpeter, but has built a phrases and fiery dextrous more towards jump jive... dare I reputation by singing and soloing, both open and in a range say 'rock and roll' on tracks 13- playing the great standards, of very enviable mutes, show just 24. Each track is no more than led one of the country’s top albums in the record rack, right Armstrong and with many unique small groups and regular there with , George stylistic trademarks of his own, British Jazz Award winners, Shearing and the rest. (I know including, of course, his famous British Jazz Award most made famous by ‘Swingdom's but - generally, nothing really the Half Dozen. because I was there!) In short he ‘muted jazz’ label. All I can say is, years since its formation in brightest trumpet stars’. That takes off. As these commercial committed the unforgivable sin of ‘Welcome back, Jonah!’ 2001. Righteous Feelin’ is a commercial albums reveal, Jonah Jones is a Jonah Jones has been regularly 10 years of commercial success, take on gospel music. Jones is good player, but not a great overlooked by jazz lovers supporting the Rat Pack at the Jonah Jones was an accomplished, backed by two studio groups: The player. because of his 1957 quartet Sands, Las Vegas, and recording versatile; Armstrong inspired Jubilee Four vocal group (‘Oh, DIGBY FAIRWEATHER shufflebeat recording of On the everything from Broadway trumpet-player, commercially yes-indeed! Ah-ooh…) and Dick Street Where You Live which tributes to gospel collections and successful in the early 1960s with Hyman and the New Disciples of Digby Fairweather’s catapulted him into the charts even Tijuana tributes. But albums a series of easy-listening albums Rhythm. Recorded with the achievements as musician, and resulted in almost 30 solo like this one (with the ‘Swinginest for the Capitol label. This well wider non-jazz audience in mind, PAUL LACEY broadcaster, writer and albums for Capitol, Decca and Chorale’) are hugely welcome presented CD has two of these even with Benny Carter archivist are too numerous finally – by 1968 – Tamla arrivals back in catalogue. They albums plus a couple of bonus arrangements and good players A fine trumpeter, Paul Lacey to summarise in a few words. ! At parties in the early reveal a supremely equipped all- tracks. Jonah the jazz content is minimal, solos is best known as the leader For nearly 20 years he has 60s you’d always find Jonah jazz trumpeter, based on Jones/Glen Gray and The Casa Loma are kept short. There are of the superb big band, Back Orchestra finds him playing Benny enjoyable moments on this CD, to Basie, winner of the Carter arrangements of tunes Orchestra, Ray Gelato and this wealth of accessible and Capitol recording techniques are (currently) Acker Bilk and is popular jazz records. immediately apparent as you hear This album is actually a You and Hey Look Me Over. entertained, and wanted a British Jazz Award winner. crisp brushes on snare and a compilation of two albums, Others like Baubles Bangles and something to dance to and he These two albums recorded in warm trumpet sound with Swingin’ on Broadway and Beads and Almost like being In Love gave it to them. I’ll be taking a leaf This CD simply compiles two the same year (’58) juxtapose natural separation of Broadway Swings Again, so is are probably more familiar to out of his book when I play the original albums in one and what a well on one CD and are from the instruments. particularly good value for Jonah Jones fans and are all give the Caveau de la Huchette in Paris joy they are. best of this genre not straying Jones fans. Jones treatment. later this year. So thank you Jonah too far towards the cheese end Jones. By the 40’s Jonah Jones was of the spectrum and instead BRUCE ADAMS Jonah Jones never attempts to I didn’t realise till I researched sideman in various big bands, retaining integrity and quality. You break out of his formula of tight this album how long Jones had mainly the can hear the solid melodic Bruce Adams has been the swinging arrangements that leave been around. He was born in ENRICO TOMASSO Orchestra from which he used invention of Armstrong and the most frequent winner of the the listener in no doubt as to 1909, so had been round the musicians to form his own outfit fiery excitement of Eldridge in his tightly contested Trumpet Enrico Tomasso’s main early what he’s about. As the title block more than a few times to record small band swing discs. playing and refreshing, compact section of British Jazz influence was Louis suggests, the tunes are all before he got his big chance with Here he experimented with arrangements of mostly familiar Awards. Most readily Armstrong. He has spent Broadway favourites, playing Capitol. There was no way he popular tunes in swing styles tunes with a relaxed swinging associated with Alan Barnes, time with such popular some extremely unlikely tunes, was going to waste it by being (Little Sir Echo ’45) which led to rhythm section. The distinct he is in demand for a host of bands as the Pasadena Roof for example Seventy Six experimental. He realised that bands of varied sizes and , If Ever I Would Leave the public wanted to be styles. Armstrong tribute band – the back of my neck stayed firmly square and we get to hear Jonah the Bateman Brothers Jazz down. playing with a bit more freedom. with a variety of bands. Now through to the early '60's. Those Sinatra, his vocals are well worth Band. I’m pretty sure from Jonah’s clear he has stepped into the seeking a virtuosic performance hearing. I’m also going to call Jonah out tone, mastery of effects, and shoes of a fine British may be disappointed. Recorded in If this CD was a recording for over use of effects like the seemingly iron lip, that he was trumpeter who, like Jonah '58 while signed to Capitol, this is All in all, this is a cheerful offering deliberately produced to appeal 'rip' and 'glissando' which capable of much more than we Jones, achieved mainstream commercial and somewhat and provides a fine lesson on to a soft core jazz audience, then eventually had me breaking out in get to hear on this recording. popularity – . eclectic stuff. He rarely stretches how to simply swing a tune. it succeeds very well: faithful hives until he’d settled on a note. out, soloing for one chorus on melodies, controlled playing and At 46, Jones' days of glory with most numbers, but as the liner little to aggravate the sensibilities The occasional musical doffing of Lunceford, , and Cab notes say, it ‘swings in a ALAN BATEMAN of the mass record buying public the hat in the direction of Louis Calloway must have seemed commercial groove’ and his if you like that sort of thing. For Armstrong made me smile; he behind him when, in '55 he was swinging, fun style, elaborate Alan Bateman attracted hard-core musos and jazzers obviously loved Louis’ playing and booked at the Embers in New glissandos, lip trills and vibrato national notice with the looking for some original licks, hearing some of Louis’ phrases York. However, his light touch, inject both recordings with an Terry Lightfoot Band, but is excitement and an aural 'fix', then coming through shows due BEN CUMMINGS muted trumpet and the infectious energy. Numbers like now best known for coping I doubt they’ll find it here: the respect in my book. occasional shuffle backing, proved Gal in Calico and Colonel Bogey are with the demands of playing phrasing is very predictable and Ben Cummings has been a winning formula, with hits full of life and though he was no trumpet in a Louis rigid throughout and the hairs on The second half of the CD is less much admired for his work

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

frequently heard numbers such as still a powerful and very Hanna Svensson RON SIMPSON’S ROUND-UP OF RECENT CDS and It’s Easy to professional singer, thoroughly Remember. Hannah Svensson is adept at swing songs and soulful ncreasingly I read of the Duke cornet), Hodges and Carney play seemed headed for the big time. plays some good songs, but Heart reaping golden opinions ballads. The lavish accompaniment Ellington Orchestra being splendidly, but the always under- However, the fourth album on & Soul tends to topple into easy throughout Scandinavia and she is (nearly 40 musicians listed) is Islack and undisciplined on rated Lawrence Brown almost the set, Big City (1965), though listening. certainly an infectious performer, handled admirably by Bill Cunliffe, tour, but the only sign of it on steals the show; Sam Woodyard, pleasing, is clearly a response to with a bright up-front voice, a from the shouting big band sound Storyville’s superb double album brilliant in the Stockholm session, fading popularity. There’s a A very likeable CD on the winning way with a lyric and a as the singer bites chunks out of IN GRONA LUND 1963 (2 is sometimes a bit inflexible for a change of tack towards soul- Belgian Igloo label, NEW confident freedom with melody, You’d be so nice to come home to CDs, 64.50/74.20) is the late small group, but he powers a tinged vocals, the trio is replaced ORLEANS FUNCTION (IGL but as yet I don’t hear the to the wrap-around string sound arrival of some band members glorious The Jeep is Jumpin’ in his by varied groups full of fine 248: 51.37), features a cornet-led control and perfect intonation on ballads. There are fine songs after the interval, giving us 6 own unique style. A clever choice players, many inclining towards quartet, Big Noise. According to that others (notable musicians, by Buddy Johnson and minutes of the Duke at the piano. of fillers involves Hawk playing the rhythm and blues field, and Igloo, the musicians are too) find in her performance. In a Wolf/Landesman, not to mention Not that he seems bothered – different Ellington tunes with the sleeve note plaintively refers passionate about 1920s New parallel CD in some ways, Ruth Batchelor and Kenny his extended piano rambles are a various small groups. At the to Jenkins as ‘a talent not to be Orleans music, with influences DREAM YOUR TROUBLES Rankin’s wry Haven’t We Met, but feature of the concert recorded opposite end of the fame overlooked’. The surprising like Louis Armstrong and Jelly AWAY (Arbors ARCD 19404: Payne’s composer of choice is in Stockholm, even Kinda Dukish spectrum from Ellington element of Solar’s issue of Roll Morton, but the album 61.57) Kat Gang, a less Gretchen Carrhartt Valade, (before a hair-raising Rockin’ in HOLLYWOOD’S LITTLE STAN GETZ ENGLAND suggests that’s selling them a bit obviously exciting talent, scores Detroit’s octogenarian jazz-loving Rhythm) full of surprises. This is a GIANT OF JAZZ (Fresh Sound 1958/CHICAGO 1957 short. True, there is a bold assault in terms of control, in the ability, clothing heiress and executive great Ellington band, with the A FSR CD 830: 2CDs, 70.28/68.30) (4569952: 61.29) is that it is the on Black Bottom Stomp (Raphael as Will Friedwald says in his producer of this CD: she proves Team sax section and Cootie justifies Jordi Pujol’s claims in first time on CD, given the early D’Agostino’s cornet daring notes, ‘to get out of the way of a a very competent songwriter, but Williams, Ray Nance and Jazz Rag for the value of issuing dates and the quality of the rather than precise) and an good song.’ And all the songs 6 out of 14 is a bit much! But for Lawrence Brown among the forgotten work. Marv Jenkins’ music. Maybe the fact that it’s engaging re-creation of the scat here, as with Svensson, are good a masterclass in jazz vocals the brass, and the concert is notable career as a featured performer one segment each of two vocal on Hotter than That, but the to great, with, again like Svensson, place to turn is ANITA O’DAY: a too little performed Rodgers for extended solo features and was short-lived, though he went concerts has something to do first track is Professor Longhair’s FOUR CLASSIC ALBUMS and Hart mini-masterpiece, I wish explosive ensemble playing when on to spend 25 years as Della with it. England 1957 is a joy: Mardi Gras in New Orleans and FOURTH SET (Avid AMSC I were in love again. From the the whole band is let off the Reese’s accompanist. As a pianist Getz relaxed, melodic, poised, in that style of New Orleans music 1136: 2CDs, 79.47/79.16). The is as melodic a guitar album as by Hiromi. Each track, mostly classic verse to Wrap your concept of each album may not leash. Ellington classics get the full recording in 1960 he is total control of some lovely keeps recurring, so I guess Big you could wish to hear. Following one word titles defining some Noise’s music is an example of troubles in Dreams to Vincent always have been perfect, but this treatment – no medleys – in surprisingly unaffected by bebop, standards with the support of a the rather odd fashion of the last type of person, has a fusion, though no one would Yeomans’ yearning More than you is a fine summary of 20 years of freshly liberated performances. with a heavy touch and strong stellar quartet. Now and again few years, he includes one philosophical slogan, such as call it that! More young European Know (accompanied by Mike the long career of a singer who From the previous year DUKE traces of soul and gospel. Marv the temperature rises, Gus standard (Cherokee, spikily ‘Seeker: Keep searching and talent on the Volenza label, a Renzi’s piano), we are in the was always ‘hip’, always individual, ELLINGTON MEETS Jenkins Arrives threatens to Johnson in his element on Basie’s deconstructed) among a exploring to discover yourself.’ become a touch monotonous small Swedish label that has . And with an equally sophisticated COLEMAN HAWKINS Taps Miller. Chicago 1957 is one of programme of originals. Often When it comes to the music, it’s with the unrelenting attack at recently taken to putting out there’s a stunning line-up to sense of rhythm and the (Essential Jazz Classics EJC those messy all-star sessions taking to the classical guitar, much less pretentious than that, first, but Duet is a surprisingly CDs by up-and-coming musicians, supply the obbligatos and solos: implications of a lyric. In addition 55646: 78.53) features an eight- redeemed by the sheer quality of Baker’s melodies and rhythms consisting for the most part of subtle original (over the set with experienced pianist Jan Warren Vache, John Allred, Harry to the albums we get seven piece full of Ellington star names. the musicians, in this case, Getz, resonate as much with English all-out attack on several fronts. Jenkins proves a most adept Lundgren as producer. Allen, Bucky Pizzarelli...what’s not singles from the 1940s, including It’s as good as you would expect. Diz, and the MJQ folk song, Spanish flamenco and Hiromi’s classical training shows composer) and Stella by Starlight Pianist/singer John Venkiah, on to like? It’s easy to see why Polly her hit with Stan Kenton, And Her Hawk, late in his career, retains minus . Now’s the Time Brazilian samba as with jazz – in an occasional delicacy of reveals more delicacy from the THINGS CHANGE (VMCD Gibbons is getting rave reviews Tears Flowed like Wine, and several his inventiveness and authority in is a succession of over-long, but and, even on Recession Blues on touch, her compositions pianist. The next two trio albums 108: 49.55) achieves the rare by listening to MY OWN tracks with , notably a set of Ducal originals, many still compelling, solos and the electric guitar, we don’t fully sometimes reveal a gift for – both musically successful – are distinction of reminding me of COMPANY (Diving Duck the celebrated duet with Roy composed for the occasion; front three each has a ballad escape the lyrical feel of the melody, but her initial default Thelonious Monk and Chet DDRCD 021: 47.37). She is a Eldridge, Let Me Off Uptown. The Nance (on violin as well as on the Reprise label, so Jenkins album. Equally listener-friendly, position is a technically stunning feature, with Getz opting for the Baker, in turn, on the first two singer of remarkable power, four albums date from 1958 to though in a different style, is two-handed assault, touching traditional piece he called Dear tracks. His percussive piano gives range and intensity, with the 1962. I have a particular liking for CLARINET MARMALADE & briefly on most jazz piano styles. Old Stockholm. The strangest a suitably Monkish feel to I Mean James Pearson Trio (all four of Anita O’Day and Billy May Swing OTHER SWEET TREATS Persevere, however, and you’ll be reissue is TOOTS/HEART & You, then the vocal on Good them) backing her to the hilt. The Rodgers and Hart: O’Day and May (P.E.K. Sound PKCD 385: 74.26) rewarded with the delicate Firefly SOUL (Blue Moon BMCD 844: Morning Heartache has some of title track, a Pearson/Gibbons are among the best people to by Oxfordshire’s Rascals of and the bluesy anthemic Spirit. 69.05) by, respectively, Toots the tender fragility of Chet. It’s an original, goes over the top in its mine the irreverent wit of Lorenz Rhythm. On their fifth album, Finally AL JARREAU pays a Thielemans and Tony interestingly varied album by a soulful attack – James Pearson’s Hart and she knows the way to the Rascals retain two unique heartfelt tribute to Mottola, two guitar albums capable trio. The standards are comment that the album reflects the emotional depths of ballads selling points to me: the individual pianist/composer George Duke made at the same studios (Fine well chosen, Alice in Wonderland a live set seems appropriate – but of the quality of Little Girl Blue and Recording Studios) only two suiting Venkiah especially well, things settle down. She resists I Could Write a Book. Anita O’Day and varied sound of the two- who gave him his first break and years apart (1966/68) and both though I’m less taken with the the temptation to melodrama in Sings the Winners is another big reeds front line and Dave who died last year in MY OLD featuring Dick Hyman on piano Latin treatment of Till there was a fine Don’t Explain and finds a band album (arrangers Marty Moorwood’s ability to dig out FRIEND (Concord and organ. I say ‘guitar albums’ You. Half the tracks are Venkiah different voice altogether for For Paich and Russ Garcia), with unusual and attractive songs. 0888072353572: 45.55). because Toots plays as much originals, nicely varied, and, if his All We Know. The other original, O’Day exploring the instrumental Certainly there are well-chosen Immaculately produced by John guitar as harmonica, sometimes English lyrics can be banal, how Midnight Prayer, is just as originals of the likes of Body and standards (Jeepers Creepers, for Burk and others, the album will duetting on the two. Toots is an good do you think my Swedish powerful, but more restrained, Soul and Sing Sing Sing (Alvin example), but also such old ones strike some tastes as over- attractive album, but Jack poetry would be? Lundgren takes and there’s no following Ray Stoller on drums). Albums with and forgotten ones as Ted produced, with Jarreau’s stylish Andrews’ arrangements can be a the piano chair on EACH Charles’ What Would I Do Without the Three Sounds and the Cal Koehler and Rube Bloom’s How’s vocals on Duke’s often bit poppy: at his best, for LITTLE MOMENT (VMCD You?, an impressive finale. Yet Tjader Quartet can be a bit About Tomorrow Night? recorded idiosyncratic songs surrounded example, Percy Mayfield’s Please 106: 49.18) by singer Hannah another new recording by a tepid, but there are enough great 80 years ago by Red Allen! by layers of accompaniment, Send Me Someone to Love, with a Svensson, with her guitarist female singer was to me the performances of classic songs to Musical standards are high, including background vocals, laid-back blues feel, Toots is in father, Ewan Svensson, in the biggest surprise. I knew Freda keep anyone happy. melody is to the fore and a sort programming and extra fine form, but it’s still a strange accompanying quartet. Both Payne only for her big hit, Band of mid-tempo happiness reigns – percussion. Guest stars abound, album. 9 of 12 tracks are below Lundgren and Svensson senior of Gold, and was unaware that she Over seven months in 2012-2013 in fact, some of the less many from the soul and rhythm & three minutes and no one would are excellent, in accompaniment had been a protégée of Quincy Fred Thelonious Baker satisfactory tracks are the more blues field (Lalah Hathaway, guess that the dep for Hyman on and in solos; the selection of Jones, then 40-odd years later recorded a solo album at his local emotional ballads. Rather less Jeffrey Osborne, etc.), though three tracks would be Herbie standards is superb, with such here comes COME BACK TO studios in Chesterfield and the relaxing and rather less tuneful, there are telling contributions Hancock! Mottola was an gems as My Foolish Heart and ME LOVE (Artistry Music ART result, LIFE SUITE (FHR 32: but brilliant in its own way, is from jazz saxist Gerald Albright Stan Getz accomplished guitarist and he Ev’rything I’ve Got alongside more 7044: 63.25), with Payne proving 57.10), whilst somewhat low-key, ALIVE (Telarc TEL 35307: 74.54) and singer Dianne Reeves. 32 THE JAZZ RAG THE JAZZ RAG 33 34 THE JAZZ RAG THE JAZZ RAG 35