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Kenny Garrett: intimate appearances

It’s not easy to catch, live, the undisputed giants of the music up close and personal in a jazz club. When it happens it’s impossible to forget.

Herbie Hancock, Keith Jarrett, Sonny Rollins, Charles Lloyd, Wynton Marsalis, even, in your neighbourhood jazz club any time soon? Forget about it: it’s just not going to happen. But a kid can dream.

Well truth can be stranger and even more mind blowing than fiction sometimes, and last year one of the giants of the music alto saxophonist Kenny Garrett best known for his intuitive work with Miles Davis and for his own records made a welcome return to the UK playing a few jazz clubs rather than a concert hall.

And he returns to one of the clubs, the Pizza Express Jazz Club in London tonight for two shows after last night’s opener. Garrett is reunited with pianist Vernell Brown Jr., bassist Corcoran Holt, and drummer McClenty Hunter Jr. who played London last year slaying the crowd on one of the nights with the infectious ‘Happy People’ but adding percussionist Rudy Bird this week for even more heat.

On form in the studio, it’s just a year since the release of one of Garrett’s most memorably melodic albums to date, Seeds From The Underground, yet live there’s an additional rapid-fire spontaneity from the alto man, allied by Hunter’s Tony Williams-type attack that communicates immediately.

With his trademark skull cap, still youthful demeanour and playing style head-bobbing up and down, alto saxophone in the air, or down low to the ground, Garrett can deliver elegant runs of beautifully fluid improvising episodes with at times a Mali-meets-McCoy Tyner style bubbling up from pianist Brown on original material of the quality of ‘Boogety Boogety’. Not to be missed. MB

Kenny Garrett, above

www.pizzaexpresslive.co.uk

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Northern exposure

Double bassist Andy Champion and his band ACV have signed to the cutting edge jazz independent record label Babel and will launch their debut Busk early next month.

From the north east of England a relative newcomer to the national scene Andy Champion performs with Voice of The North, and with his wife singer Zoe Gilby, and for the new album Champion has worked closely with producer Chris Sharkey, of Leeds skronksters trioVD.

The Champion five sees the bassist joined by saxophonist Graeme Wilson, pianist/keyboardist Paul Edis, guitarist Mark Williams, and drummer Adrian Tilbrook in ACV whose sound is grounded in prog and free improv. 

ACV above launch the album with dates at the Vortex, London on Thursday 4 April, and the Gateshead Jazz Festival two days later. In Gateshead, in addition to launching Busk, Champion will also perform Ian Carr’s ‘Northumbrian Sketches’ in a band to include Henry Lowther, Tim Whitehead and strings.

Quest
Circular Dreaming
Enja ****
It’s a Charles Lloyd kind of day today as the great man celebrates his 75th birthday. Love in bassist Ron McClure, who’s a pillar of Quest, must have some extraordinary memories from those far-off quartet days with Charles, Jarrett and Jack DeJohnette.

And Quest, too, is about memories, their own as a longstanding group with 10 albums now released, but also of the 1960s. A repertory band featuring a sprinkling of new compositions with a pair here by sax icon Dave Liebman and Richie Beirach, Quest, (with McClure, pianist Beirach, drummer Billy Hart, and Liebman) look and you can make out in the typography within the circle of the ‘Q’ on the cover text that proclaims the band “plays the music of Miles 60s”. It’s a message amplified by Michael Cuscuna in a preface to the notes inside who boldly states Quest is “devoted to interdependent group music rather than the soloist with rhythm aesthetic.”

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On a mission: Ron McClure (above, left),
Dave Liebman, Billy Hart and Richie Beirach

Beautifully presented with attractive artwork, clear notes and photographs Circular Dreaming begins with Wayne Shorter’s ‘Pinocchio’, and other tunes include five other Wayne compositions, including a throaty Liebman-led ‘Footprints’ and album standout ‘Vonetta’. Shame about the spelling of ‘Nefertiti’ though, you can never have too many ts… except here. The album title track is a tune of Beirach’s, a homage to Miles. Beirach says: “I wanted the circular feeling of no beginning and no end with the harmony definitely moulded to the melody”. Maths jazz today strips away that connection, a fault Circular Dreaming avoids entirely. Fine playing throughout with gutsy blowing and a desire to make the music exist as part of a continuum without putting the music behind a glass case in a museum. Circular Dreaming also shines the spotlight on a significant amount, yet still represents just a small sample, of Wayne Shorter’s best work as a composer, timely as his latest great extended piece ‘Pegasus’ has just been released on Without a Net.

The cover of Circular Dreaming, top, and Quest above

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George Shearing
At Home
Jazzknight NEW SEASON HIGHLIGHT ****
Beginning like a foxtrot, when was the last time that happened?, ‘I Didn’t Know What Time It Was’ has a twinkling style, full of the chirpiness Nat King Cole managed to endow old Broadway songs with when he himself played piano. Shearing turns on his significant charm though after about a minute in, and these living room songs recorded in the great pianist’s New York home in 1983 draw out Don Thompson’s role as a confidant to Shearing’s left hand. Thompson played with Shearing for some 20 years in all, and you feel as if he knows Shearing’s every move on the tracks they play together. Now 73, he accompanied Barney Kessel early in his career in Vancouver clubs, and appears on the John Handy Quintet classic live album Live at the Monterey Jazz Festival recorded in 1965.

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Don Thompson: hearth of the matter

Thompson began playing concerts with Shearing decades later, from 1982 onwards, the year before the newly discovered At Home was recorded. And just under the three-minute mark he and the recording engineer (in fact one and the same), draw out the woodiness of the bass a skilled carpenter would find hard to locate.

A sprightly start then to this remarkable Jazzknight records album, Lady Shearing’s label, with the backing of discerning jazz distributor Proper Note, there’s an elegant fade at the end of the opener; and then, like some sort of mirage Johnny Mandel’s ‘A Time For Love’ emerges after the silence. Well what can you say? It’s beautiful. You just want to be there, even though the track’s very short. Thompson comes in on the arc of the Shearing line here time and again, at the emotional tug of the note. 

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Thompson’s own tune ‘Ghoti’ (apparently Shearing dubbed it: “up at the crack of Don”), leads into a riot in swing, and you could hear this being played with a vibes quintet, Shearing’s preferred stomping ground in his heyday. This one’s got bebop written all over it. After two minutes Shearing changes the goalposts, and there’s a rhythmic murmur that’s the very essence of bop syncopation.

The sound quality is fine throughout At Home: you can really hear the piano and bass and the instruments together. The album was mastered much later in Toronto, the city where Ellie Shearing first heard the tapes played before pressing green for go to start the process towards release after an ice age of 30 years in the obscurity of a drawer.

‘The Things We Did Last Summer’, the Jule Style/Sammy Cahn song begins jauntily, as if the duo are feeling completely at ease, and that’s a defining feature of this wonderful album. Apparently Lady Shearing provided cups of tea in breaks over the few days the album took to make. No producer was present, and there is a comfortable feel to all these tracks recorded around the time of a run of club dates in New York.

‘Laura’ is the first big talking point and really the test of the album. Opening expansively the theme is stated quite simply with a few ornate touches, but Shearing seems more interested in building the darkness in his left hand at which he more than succeeds. The tempo slows right down and there are some lovely washes after the 150-second mark moving towards some high-end tinkling that ends even more seriously than it began. With Thompson back ‘The Skye Boat Song’ I could have done without, although it’s a pretty enough melody and close to the bassist’s heart. But Shearing and Thompson are on more satisfying territory with Bird’s ‘Confirmation’ joyously foot tapping, but not fast at all. Remaining tracks are a winningly shy take on ‘The Girl Next Door’ with its hesitant opening; a swayingly optimistic ‘Can’t We Be Friends?’; the more mundane ‘I Cover the Waterfront’; and ‘Out of Nowhere’. Although ‘That Old Devil Called Love’ opens things up, ‘SubconsciousLee’ allows lots of bass space, and little detours here and there. Victor Young’s ‘Beautiful Love’ is simply a display of Shearing genius at the end.
At Home is released on 15 April

Sir George Shearing top, Don Thompson above; and the album cover  

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Erin Boheme
What a Life
Heads Up **** RECOMMENDED
This is quite a special album: full of great songs delivered in a very commercial way. Some of the songs could chart even. Boheme has been around a while, signed as a teenager, and the album has added stardust, as Michael Bublé has produced. But where’s the jazz you might ask? Well if you ask that kind of question, this album is not for you. It’s about songs not improvising, but it’s perfectly compatible within its alt.country framework rather than the flawed smooth jazz format that is now disappearing or at best morphing into more acceptable soul-jazz. Contrast the Eric Benet version of ‘The Last Time’ with the version here and there’s a huge difference in interpretation, less cheesy for sure. In Benet’s take on his own highly effective melancholic song, co-written among others with famed songwriter David Foster (who penned ‘I Have Nothingfor the late Whitney Houston and produced the Corrs), the natural feeling gets lost a bit crouched behind the layers of glossy audio production and arrangement. Bublé’s approach although you mightn’t think so at first blush is to strip away the varnish, and let the songs breathe, and Carly Simon-loving Boheme begins demurely on a low key Emeraldesque rumba ‘Everything But Me’, which is close enough for jazz as Van Morrison might put it. Why Boheme needed to cover a Coldplay song I don’t know, and I didn’t care for the Bublé-sounding Spencer Day who is on the otherwise excellent ‘I’d Love To Be Your Last’. But ‘One More Try’ is quite superb, and jazz-intuitive, and of the band we really should be hearing more of pianist Alan Chang who co-wrote the song with Boheme. Overall then, songs that will stay with you, delivered by a singer who clearly believes in her material and carries both the record and the day.

Close enough for jazz: Erin Boheme above plays the Hippodrome, London on 16 April, with special guest Tammy Weis. What A Life is released on 25 March
www.hippodromecasino.com

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Torchbearer for the beats: Michael Horovitz

Ian McMillan in ‘I wandered lonely as a cat’ on Radio 4 tomorrow at 11.30 explores the history of jazz and poetry from the Harlem Renaissance and the San Francisco beats, via Pete Brown and Michael Horovitz with McMillan joined in conversation by singer Barb Jungr.

Saturday’s Jazz Record Requests (R3, 7.45pm) concentrates on the trumpet, with tracks by Miles Davis, Valaida Snow, and Bill Coleman. Pat Halcox, of the Chris Barber band who died recently, is remembered by the programme’s presenter, Alyn Shipton.

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Henri Texier: Inimitable savoir-faire

Jazz Line-Up (R3, Sun, 11pm) presented by Julian Joseph this week concentrates on the hard blowing Marius Neset quartet in concert, recorded in the Merseyside seaside town of Southport. The programme also features an interview with Mark Lockheart. Jazz on 3 on Monday evening, again on Radio 3 at 11pm, features French bass legend Henri Texier and his trio, plus the duo of Trevor Watts and Veryan Weston, recorded at the 2012 London Jazz Festival. MB

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Surely Ethan Iverson won’t, will he, lean over to say ‘play it again, Sam?’ Even a whisper might be out of the question from the piano player, or the fun-loving fans in the audience bound to turn out in some number when The Bad Plus’ Iverson plays an exclusive trio club date in the spring.

No, it’s not with The Bad Plus although he will be back on tour with the acclaimed trio in the UK soon but instead with man of mystery, bassist Sam Lasserson, and the more familiar ex-Lee Konitz drummer and Dave Liebman associate, Jeff Williams. But who exactly is Lasserson?

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‘I’ll play it again’: Sam Lasserson

Well, the bassist is in ECM saxophonist Martin Speake’s quartet, and plays with rising star of the guitar Hannes Riepler, the “Country Gentleman" player who helms the burgeoning Sunday night jam downstairs at the Vortex in Dalston’s Gillett Square. Lasserson obviously keeps good company.

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Cool school: Jeff Williams

How the polymath Iverson has hooked up with Lasserson is anyone’s guess but the pianist is a shrewd observer of the scene, and in terms of London is no stranger to the Vortex where the gig is to take place. Iverson four years ago joined Bad Plus drummer Dave King, hipster alto sensation Tim Berne, and cellist Hank Roberts in the very spot for one of the most hardcore improvising gigs ever witnessed at the cutting edge club. Early booking advised.  MB

Ethan Iverson, top
www.vortexjazz.co.uk, Saturday 20 April

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It’s not easy to catch, live, the undisputed giants of the music up close and personal in a jazz club. When it happens it’s impossible to forget.

Herbie Hancock, Keith Jarrett, Sonny Rollins, Charles Lloyd, Wynton Marsalis, even, in your neighbourhood jazz club any time soon? Forget about it: it’s just not going to happen. But a kid can dream.

Well truth can be stranger and even more mind blowing than fiction sometimes, and last year one of the giants of the music alto saxophonist Kenny Garrett best known for his intuitive work with Miles Davis and for his own records made a welcome return to the UK playing a few jazz clubs rather than a concert hall.

And he returns to one of the clubs, the Pizza Express Jazz Club in London on Friday, followed by two shows on Saturday. Garrett is reunited with pianist Vernell Brown Jr., bassist Corcoran Holt, and drummer McClenty Hunter Jr. who played London last year slaying the crowd on one of the nights with the infectious ‘Happy People’ but adding percussionist Rudy Bird this week for even more heat.

On form in the studio, it’s just a year since the release of one of Garrett’s most memorably melodic albums to date, Seeds From The Underground, yet live there’s an additional rapid-fire spontaneity from the alto man, allied by Hunter’s Tony Williams-type attack that communicates immediately.

With his trademark skull cap, still youthful demeanour and playing style head-bobbing up and down, alto saxophone in the air, or down low to the ground, Garrett can deliver elegant runs of beautifully fluid improvising episodes with at times a Mali-meets-McCoy Tyner style bubbling up from pianist Brown on original material of the quality of ‘Boogety Boogety’.

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Expect funk a plenty (in the Miles Davis 1980s sense), free-form Ornettian figures as well at these shows. On the Friday after Garrett leaves the stage there’s a free entry Whirlwind jam, so stick around if you’re stepping out, as the cream of the Soho scene are likely to show. MB

Kenny Garrett, top and Pizza Express Jazz Club above word on the street

www.pizzaexpresslive.co.uk

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The Aberdeen jazz festival gets underway later and on the programme of a busy festival today there’s US jazz-rock fusion heavyweights Yellowjackets, and the Henry Threadgill-inspired improv of the acclaimed Trio Red. Tomorrow (Wednesday 13 March) features a young musicians’ showcase, with the Hot 8 Brass Band already sold out, and Brian Kellock playing the music of Fats Waller. Thursday finds Trio Elf feat. guitarist Graeme Stephen at the Blue Lamp, and also for Aberdeen this week is bluesman Mud Morganfield. Friday features concerts by Ruby Turner, and Courtney Pine, with an appearance by Hidden Orchestra on Saturday and the festival moves to a climax with Trio Libero (above) featuring the ‘King of Aberdeen’ himself Seb Rochford, with Andy Sheppard and Michel Benita, making their Scottish debut on Sunday. More at www.aberdeenjazzfestival.com

On the horizon


Derry jazz and big band festival 2-6 May
http://www.cityofderryjazzfestival.com

Glasgow jazz festival 26 June-30 June
www.jazzfest.co.uk

Edinburgh jazz and blues festival 19-28 July
http://www.edinburghjazzfestival.com/

Marlborough jazz festival 19-21 July
http://www.marlboroughjazz.com/

Hull jazz festival
26-28 July and 21-27 November
http://www.jnight.org/hulljazzfestival.php

and from Marlbank yesterday:

Jazz festival 10

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Brilliant Corners 21-23 March
With Liane Carroll, David Lyttle, Mark Lockheart’s Ellington In Anticipation, Steve Davis, and Alexander Hawkins to perform at this new festival inspired by a classic Monk album. http://movingonmusic.co.uk

Gateshead jazz festival 5-7 April
Centred at the Sage, Soweto Kinch, Lighthouse, Christine Tobin, Ruby Turner and Louis Moholo-Moholo/Alexander Hawkins are Tyneside bound this year.
http://thesagegateshead.org/tour-dates/gateshead-international-jazz-festival-2013

Cheltenham jazz festival 1-6 May
Dionne Warwick, Van Morrison, Laura Mvula, Polar Bear, Gary Burton, Dave Douglas, and Mike Gibbs are set to appear in the lively old regency spa town. http://www.cheltenhamfestivals.com

Love Supreme, 5-7 July
New outdoor festival in Sussex, Bryan Ferry, Chic, Gregory Porter, Michael Kiwanuka, Jools Holland, Courtney Pine, Robert Glasper, Neil Cowley Trio and Portico Quartet feature. (Porter, Pine and Portico, above)
http://www.lovesupremefestival.com

Swanage jazz festival 12-14 July
Dorset bound are Kit Downes Quintet, Jean Toussaint, Gilad Atzmon, and Karen Street at the long established jazz gathering.
http://www.swanagejazz.org

Manchester jazz festival 26 July-3 August
One of the most innovative jazz festivals in the country, with a strong regional and artistic identity. Worth waiting for the line-up to be announced in the spring.
http://www.manchesterjazz.com

Brecon jazz festival 9-11 August
Acker Bilk, Courtney Pine, Gilad Atzmon, Roller Trio, John Surman and more in the Powys market town for the biggest jazz gathering in Wales, now reborn.
http://breconjazz.com

Scarborough jazz festival 27-29 September
Kicking the sands from their shoes in Yorkshire are Courtney Pine, Kyle Eastwood, Ian Shaw, Beats & Pieces and more this year.
http://jazz.scarboroughspa.co.uk

Cork jazz festival 25-29 Oct
Line-up should be available in September.
http://www.guinnessjazzfestival.com/

London jazz festival 15-24 November
The biggest of the UK jazz festivals, celebrating its 21st year in 2013.
http://www.londonjazzfestival.org.uk MB