|1.00pm||david lyttle||black gate cultural centre||€7||On The Door|
|5.00pm||books to die for / songs to live for||charlie byrne’s bookshop||free||
|6.00pm||official festival opening||the kitchen||free||
|7.00pm||jazz from a window||the blue note||free||
|7.30pm||in flow||nuns’ island theatre||€10||buy tickets|
|8.00pm||lauren kinsella - saoirse||an taibhdhearc||€16.50||buy tickets|
|10.00pm||zrazy||black gate cultural centre||€11.50||buy tickets|
The question in the headline above is on a topic that needs addressing.
Playlists, the popular ones are on sites such as Spotify and Apple, are one entry point to new jazz. Sometimes DJs also publish their playlists.
If you are a playlist person especially currently when “singles” are everywhere you may also be somehow residually an “album” sort. However, given the direction of travel at the moment and the lack of time that most people possess which often proves insufficient to keep up with new jazz and proves a struggle even to wade a little in the water, the chances are your “album” side is less evident than your playlist dominant routine preference.
Looking at playlists, some of these are very long indeed and tell very little about anything out of context. Only a few are actually full of brand new releases. Some contain tracks that have been around for months. Above all they are marketing driven however curated.
Do we listeners want to listen to something that is commercially popular? Sometimes but not always, may well be one response.
To flip that on its head if something fails to sell do we want to listen to something unpopular? Sometimes but not always is also a possible response in all likelihood.
Crucially jazz listeners need a complete album to listen to for the full story. Playlists, basically compilations put together for consumer or social, mood, lifestyle, channel, entertainment reasons, do not offer this ability.
The answer then to the headline is “not really”. The question needs asking however and returning to as tech continues to change and playlists continue to be an important factor in the route to jazz listening and developing a love and knowledge of the music. They are, however, far from reliable be-all and end-alls in other words.
|wednesday/dé céadaoin 2nd october/
|1.00pm||cormac mcCarthy trio||o’Donoghue theatre, NUIG||free||
|6.00pm||the jazz ambassadors||pictúir pálás||€10.00||buy tickets|
|7.30pm||in flow||nuns’ island theatre||€10.00||buy tickets|
|8.00pm||bat walk||galway cathedral||free||
|9.00pm||cormac mcCarthy trio||blue note||free||
|1.00pm||Úna monaghan and pauline scanlon||black gate cultural centre||€7.00||On The Door|
|5.00pm||anna mullarkey workshop||an taibhdhearc||€8.00||buy tickets|
|6.00pm||Úna monaghan||kieran moloney music shop||free||
|6.00pm||blue groove trio||blue note||free||
|7.00pm||matthew berrill / Neil O'Lochlann / Dan Walsh||salthouse||free||
|7.30pm||in flow||nuns’ island theatre||€10.00||buy tickets|
|8.00pm||andreas varady trio||an taibhdhearc||€16.50||buy tickets|
|9.30pm||house trio + colm o’Hara||il vicolo||free||
|10.00pm||renaud garcia fons / claire antonini||black gate cultural centre||€36.50||buy tickets|
|11.00pm||anna mullarkey / matthew berrill||electric||€6.00||buy tickets|
|11.00am–10.00pm||pop up record shop||mick lally theatre||free||
|12.00pm||johnny taylor trio||massimos||free||
|12.00pm||roxy's head is melted||mick lally theatre||€11.50||buy tickets|
|1.00pm||róisín mulliez||black gate cultural centre||€7||On The Door|
|2.00pm||joe O'Callaghan||coffeewerk and press||free||
|2.30pm||bog bodies||mick lally theatre||€11.50||buy tickets|
|3.00pm||chris montague workshop||maoin cheoil na gaillimhe||€10||buy tickets|
|4.00pm||trish clowes / ross stanley||cava bodega||free||
|4.30pm||lise-lotte norelius / soren runolf||mick lally theatre||€7||On The Door|
|5.00pm||aengus hackett / barry donohue / matthew jacobson||salthouse||free||
|6.00pm||brian fleming||kieran moloney music shop||free||
|7.00pm||trish clowes - my iris||mick lally theatre||€11.50||buy tickets|
|9.30pm||kaja draksler / eve risser||mick lally theatre||€11.50||buy tickets|
|10.00pm||fixity||black gate cultural centre||€15.50||buy tickets|
|10.00pm||house trio + richie buckley||il vicolo||free||
|11.00am||art of the tree-o||st. nicholas’ collegiate church grounds||free||
|12.00pm||emilie conway - the smashing red kite’s blues||mick lally theatre||€5.00||On The Door|
|12.00pm||london gay big band||electric||€16.00||buy tickets|
|2.00pm||joe O'Callaghan||coffeewerk and press||free||
|2.00pm||GJF ensemble masterclass with neil yates||black gate cultural centre||free||
|3.00pm||sue rynhart trio||mick lally theatre||€7.00||On The Door|
|3.00pm||london gay big band||electric||€16.00||buy tickets|
|3.00pm||emilie conway / aengus hackett / damian evans||salthouse||free||
|3.30pm||GJF@GUH - johnny taylor trio||galway university hospital||free||
|5.30pm||daniele di bonaventura||loam||€16.50||buy tickets|
|7.30pm||house trio + neil yates||il vicolo||free||
|8.00pm||nils økland||st. nicholas’ collegiate church||€16.50||buy tickets|
|10.00pm||derrick mckenzie (dj set)||il vicolo||free|
The festival website address for full details is galwayjazzfest.ie.
In a word to answer the question above, plenty. Site to bookmark for instance: Dublin promoter IMC runs an Irish scene listings service. The list at the moment details regular Dublin jazz jam sessions at the Grand Social and Arthur’s on Mondays, an improv special with trombonist Paul Dunlea, above, in Cork at the Crane Lane on Tuesdays and a host of other gigs dotted around Ireland. The website address is here.
• Another listings site Jazz Ireland is also available for a bird’s eye view of the ever developing scene.
Look for the latest from the distinguished trumpeter Wallace Roney setting the autumn agenda big time in a classic hard bop direction first listens suggest. To be issued on the High Note label as summer fades into early autumn when the full album is out saxophonist Emilio Modeste, pianist Oscar Williams II, bassist Paul Cuffari, and drummer Kojo Odu Roney are on Blue Dawn, Blue Nights made at Van Gelder’s in New Jersey. Guitarist Quintin Zoto and drummer Lenny White complete the album collective personnel.
Wallace Roney emerged from the Ali’s Alley scene as a teen. With Miles he appeared on Miles and Quincy Live at Montreux. Roney is and remains a global force to be reckoned with. These sonic glimpses underline that. The countdown begins.
“The nominations have today been announced for the 2019 Parliamentary JazzAwards, organised by the All Party Parliamentary Jazz Appreciation Group (APPJAG) with the support of PizzaExpress Live.
The nominees include a broad array of jazz talent from the UK jazz scene.
The award categories reflect the ever-increasing scope of talent from within the UK’s jazz scene: Jazz Vocalist of the Year; Jazz Instrumentalist of the Year; Jazz Album of the Year; Jazz Ensemble of the Year; Jazz Newcomer of the Year; Jazz Venue of the Year; Jazz Media Award; Jazz Education Award; and the Services to Jazz Award.
Following the online public vote for the Awards, the shortlist was then voted upon by a selection panel, who represent a broad cross-section of backgrounds united in their passion and knowledge of jazz. The winners, chosen by judging members of the All Party Parliamentary Jazz Appreciation Group (APPJAG), will be announced at the awards ceremony at PizzaExpress Live, Holborn, London on Tuesday 3rd December 2019.
Kelvin Hopkins MP, Co-Chair of APPJAG, said: “These shortlists demonstrate the wealth of talent and commitment that exists in the British jazz scene. Now in its 15th year, the Parliamentary Jazz Awards honours the best of British jazz. MPs and Peers in the All Party Group are delighted to host another ceremony at Pizza Express Live and we are extremely grateful to PizzaExpress Live for supporting the event.”
Jazz Vocalist of the Year
Jazz Instrumentalist of the Year
Jazz Album of the Year
Sons Of Kemet – “Your Queen Is A Reptile”
Adrian Cox – “Profoundly Blue”
Fergus McCreadie – “Turas”
Jean Toussaint – “Brother Raymond”
Jazz Ensemble of the Year
London Vocal Project
Gareth Lockrane Big Band
Jazz Newcomer of the Year
Jazz Venue of the Year
Marsden Jazz Festival
Bebop Club, Bristol
Watermill Jazz Club, Dorking
Verdict Jazz Club, Brighton
Jazz Media Award
Kevin Le Gendre
Ian Mann – Jazzmann
Jazz Education Award
Services to Jazz Award
Dame Cleo Laine”
Marlbank asked what the dates are, in which city they will take place, and if there will be a separate jazz event as in some recent years. Henk Elzenga, a director of the MOBOs replied by email: “We are hoping to bring the Awards back in November – we are working on it and will need to know soon. A day and venue have been pencilled in yet funding is the challenge. Not sure at this point what and if we can do anything around gospel and jazz specifically for that same reason.” SG
Remember how Rymden appeared so stirringly earlier this year? Cast your minds back.
Dan Berglund, above left, Bugge Wesseltoft and Magnus Öström whose Reflections and Odysseys was an 8 February release. In terms of tick boxes: yes to absorbing metrical investigation, lots of electricity, big bass and energetic drums. No however to navel gazing and ponderous pomposity which often bedevils prog-jazz.
This style is the antithesis of ambient Nordic spaciousness and it is a busy sound. On a tune like ‘Pitter Patter’ however you can source the sound back to say Chick Corea because Wesseltoft using the Rhodes electric piano knows that terrain inside out and manages to sound ahead of the game even when the sound of the Rhodes is everywhere this last decade.
‘The Lugubrious Youth of Lucky Luke’ is probably the most EST-like of all the tunes, a slow ballad that takes its time to unfold after a folk-ish opening melodic mood is established by Wesseltoft on piano with almost a country lilt to it.
‘Homegrown’ in a major rather than minor mood at the end is a beauty and shows this band are not afraid to use warm and rich melody, cadences to die for, to their advantage without being at all twee.
If you are an EST fan you will see how time is a healer and how too Bugge Wesseltoft is the perfect person to harness the beauty of that band and paint new pictures with the spirit and all that heart. Everything glues together which may have been the hope but certainly to these ears is the reality. SG
Rymden are headliners on the final night of this autumn’s Punkt held over 5-7 September.
A digital format piano and alto saxophone duo album recorded at Trinity Laban in south east London towards the end of 2016 is on release. ‘Majolica’ is a taut beginning grounded by Maguire’s very abstract sense of harmony. The pianist begins ‘Smooth Your Feathers’ in a more gentle, ruminative and balladic way: Martin Speake typically Konitz and Ornette Coleman-like in the sense not necessarily of timbre but in the jagged overlapping saxophone lines he creates.
‘Just One Look’ continues the conversational approach while ‘Prana’ is more celebratory, a fanfare from Speake to begin. Then ‘Mellow Eightpence’ is so quiet at the beginning and a memorable very pretty initial theme is developed straight off: the duo seem to be freest here in the ultimate sense of playing and not thinking... and yet are so lucid and creative.
‘Six Sisters’ again sits in simple melody and goes quiet as if time and silence (often the ultimate desire to achieve in every kind of music making either as means or outcome) are forefront in the mind’s eye.
‘Eau de Nil’ and later ‘Different Roads’ are where the album really gets interesting in terms of the piano lines. The Bley-esque Maguire thrives on the homespun aspect to ‘The Next Stage’ and we are back to the Konitz universe to an extent on ‘Wounded Landscape’ but Speake takes it a step further and this track is a wilderness of bass lines and rampaging bar-vaulting fourths and eighths juggling illusive atonality or tonality in its grandeur.
‘Dottles’ is free improv in the plinky plonky sense should you choose to use that phrase advisedly — I am being as accurate as possible and not pejorative — and as for the final five tracks: where they work best is when they find a simple theme which they often do and ornament it. ‘Armistice Sorry To Be Me’ is superb (‘Green Light’ the only weak track in an album of 16 tracks) and ‘Embrace’ finds Speake — think beyond style in a Britjazz timeline of alto sax icons: John Dankworth; Joe Harriott; Speake; Soweto Kinch — at his epic best. SG
Available via Bandcamp ***
The line-up for the Wednesday, Thursday and Friday of the Soho Jazz Week on the Soho-Live site is now available.
Wed 11 September
Artists include Ashley Henry, Jo Harrop and Cherise Adam Burnett. Full list
Thurs 12 September
Artists include Christian Brewer, Aydenne Simone and KoKo Collective. Full list
Fri 13 September
Artists include Andy Davies, Quentin Collins, Kitty la Roar and her trio. Full list
The Soho.Live Jazz Week website is here.
From the upcoming 16 August release of Crepuscule In Nickelsdorf by Trance Map+: Evan Parker, Matthew Wright, Adam Linson, John Coxon and Ashley Wales.
A seven part mix of field recordings, samples from cassettes, turntable scratching and live processing of Evan Parker saxophone recordings collective personnel are: Evan Parker, soprano saxophone; Matthew Wright, turntable, live sampling; Adam Linson, double bass, electronics; John Coxon, turntable, electronics; Ashley Wales, electronics. Think of the tracks so far as somehow conjuring a 21st century Turner electroacoustic seascape in a void far from home, all sense of reality upended in the churning turbulence of dreams.
Enjoying critical acclaim and now experiencing initial sales success, Nérija top the UK official jazz & blues album chart — a significant achievement.
Nérija are Nubya Garcia (tenor saxophone), Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto saxophone), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizy Exell (drums) and Rio Kai (bass). Blume was released on 2 August.
Check out the woozy hard bop and Afrobeat-flavoured ‘Riverfest’ from the album, above.
Try these sounds from the Mario Pavone Dialect Trio, the bassist in a cooperative trio on the title track of Philosophy (issued by Clean Feed) recorded in the studio last summer in New Haven, Connecticut, with pianist Matt Mitchell and drummer Tyshawn Sorey. Swings ferociously in a loose open style, a great deal landing within the freebop idiom. Snap this one up. **** RECOMMENDED
Country singer Nathan Carter appeared on the second night of Shoreline and came on stage after the rain.
Carter, from Liverpool who lives in Enniskillen, and who is the biggest star in Irish country music and has been for quite a few years, wrote a song about Enniskillen called ‘Island Town’ and it was fitting that he was here on the island itself on a big stage in front of several hundred people inside the castle grounds, a place itself mentioned, in the song lyrics:
“The lights of the castle walls/they flicker across the water/and it seems to me/they have a life of their own.”
Carter, top, photo: marlbank, singing ‘Island Town’ a ballad to add to the town’s own tower of song: the latest since the lively ‘Fare Thee Well Enniskillen’ was famously rendered by the Clancy Brothers and Tommy Makem. Stephen Graham
Produced by Walter Smith III Harish Raghavan makes his debut as a leader — a quintet affair the bassist-composer joined by vibist Joel Ross, drummer Kweku Sumbry, pianist Micah Thomas, and altoist Immanuel Wilkins. The recording is titled Calls for Action and is to be issued by Whirlwind this autumn.
Harish Raghavan, publicity photo above