John Turville performed at the first Shearing Hour last night at the Pizza Express Jazz Club in a new early-evening piano hour slot at the Soho club in London. The theme of the hour was the music of George Shearing, and award winning pianist Turville whose album Conception, the title track of which is one of Shearing’s best known compositions, performed some newly transcribed material associated with Shearing. He interpreted Shearing’s signature “locked hands" style admirably, with a nuanced airy feel, and the club’s newly tuned Steinway sounded a treat. As well as ‘Conception’ he played the great Horace Silver’s composition ‘The Outlaw’, which appeared on the Shearing Quintet’s 1960 Capitol album San Francisco Scene, and another of Silver’s, ‘Room 608’. The set also featured ‘Station Break’, a lesser known tune from the Shearing live album Rare Form recorded in San Fran, the standard ‘East of the Sun, West of the Moon’, ‘September in the Rain’ (the Shearing Hour’s theme song), and of course ‘Lullaby of Birdland’, which Turville played quite beautifully. Earlier the audience, who would swell to fill the club to hear jazz singer Clare Teal deliver a fine performance later in the evening with her piano trio, warmed to some original 1947-1952 Shearing gems played over the club’s house sound system. SG
John Turville pictured at the Shearing Hour. Photo: Aimua Eghobamien
One word is already amounting to a major theme of jazz releases this year and that is: Duke. Of course, it’s Duke as in Ellington, and with Mark Lockheart releasing his remarkable Ellington in Anticipation record and heading out on tour http://marlbank.tumblr.com/post/38943427946/265 , the uncanny Ellingtonian homage in Adrian Johnston’s original music for Dancing on the Edge http://marlbank.tumblr.com/post/40600198373/2847525 set to reach a TV audience next month, the early part of 2013 will also see the release of the Scottish National Jazz Orchestra’s new Spartacus records album In the Spirit of Duke. Recorded in the autumn of last year actually in Scotland the album follows the SNJO’s 2012 debut for ECM, Celebration, which featured Norwegian bass supremo Arild Andersen. Tracks on the new album are thought to include ‘Black & Tan Fantasy’, ‘Concerto for Cootie’, ‘Harlem Airshaft’, ‘The Single Petal of a Rose’, and movements from ‘The Queenʼs Suite’, plus the Ellington Strayhorn jazz adaptation of Edvard Griegʼs ‘Peer Gynt Suite’. Soloists on the album include pianist Brian Kellock, trumpeters Tom MacNiven and Ryan Quigley, alto saxophonist Ru Pattison, and director Tommy Smith on saxophone adopting the role of Paul Gonsalves on the Ellingtonian’s celebrated Newport crowdstealer, ‘Diminuendo and Crescendo in Blue.’ SG
In the Spirit of Duke is released on 13 March. Members of the Scottish National Jazz Orchestra with Tommy Smith pictured top. Upcoming SNJO dates with guest trumpeter Paolo Fresu are Caird Hall, Dundee, 21 February; Queen’s Hall, Edinburgh, 22 Feb; Royal Conservatoire, Glasgow, 23 Feb; and Macrobert, Stirling, 24 Feb
The input of the music of the Cape Verde islands in jazz, particularly as it appears indirectly within the music of Horace Silver and more directly with the late Cesária Évora, is considerable, and Souza, who’s in her early thirties from Lisbon of Cape Verdean descent is another part of the stream merging local folkloric musics and jazz. Released in France as long ago as September the new album comes out in the UK next month. Called Kachupada, after a well loved Cape Verdean dish, Souza is certainly not brand new, but fairly unknown to jazz audiences in the UK, although world music fans know of her here more but she has mutual appeal it’s clear. A decade ago the singer whose voice has a lingering contralto lilt was first working with the producer bassist Theo Pas’cal and she debuted in 2003 with an album that mixed Creole, African and Cape Verdean rhythms. Poppy at times, but not as light as a singer such as Luisa Sobral, on the new album Souza lets loose some lively vocalese on tracks such as ‘Tchega’, and there are jazz standards such as ‘Donna Lee’ and ‘My Favourite Things’ here sparkily handled, with a sympathetic band varying in size as the album tracks demand. So, a laidback sound with plenty of jazz textures (fine instrumental solos for instance saxophonist Guto Lucena’s on ‘Terra Sab’ [‘Amazing Land’]), along with pleasurable rhythms in abundance, although saudade is never far away. SG
Following news earlier this week that Liane Carroll is to headline the new Brilliant Corners festival in March, the following month, it’s now understood, will see the latest album to be released by the award winning singer who is also touring heavily in the spring. Titled, quite simply, Ballads, it’s the classic jazz singer’s latest for Quiet Money Recordings, trumpeter James McMillan’s label, who returns to produce Liane once more following their work together on Up and Down released two years ago. This new album features arrangements by Chris Walden whose work includes Paul McCartney’s 2012 album, Kisses on the Bottom.
Ballads tracks include ‘Here’s To Life’, featuring Carroll’s powerful vocals along with classical guitar and celeste; ‘Goodbye’ with a Walden orchestration and Mark Edwards on piano; a big band take on ‘Only The Lonely’ (not the Roy Orbison song, the Sammy Cahn/Jimmy van Heusen torch song closely identified with Frank Sinatra); ‘Mad About The Boy’ with an appearance by pianist Gwilym Simcock; jazz standard ‘You’ve Changed’; Todd Rundgren’s ‘Pretending To Care’ featuring the bass clarinet of Julian Siegel; ‘Calgary Bay’ by songwriter Sophie Bancroft; a strong reading of ‘My One and Only Love’; ‘Will You Still Love Me Tomorrow’ with acoustic guitar and the saxophone of Kirk Whalum who worked with Liane on Up and Down; ‘The Two Lonely People’; and the Buddy Holly associated song ‘Raining in My Heart’. Stephen Graham
Liane Carroll pictured top, and the album’s cover. Ballads is released on 15 April
Muddy Waters’ son, bluesman Mud Morganfield, and a debuting Champian Fulton, are two highlights of this year’s Fife Jazz Festival fast approaching. New York-based singer Fulton is appearing with her trio. Also for Fife in 2013 are The Norrbotten Big Band, Carla Cook, Graeme Stephen, Erja Lyytinen, The Nimmo Brothers, Red Stripe, Dan Block, Eric Alexander, Tim Kliphuis, Brian Kellock, and David Blenkhorn. This weekend festival runs from 1-3 February, and concerts are spread across the kingdom of Fife in cities and towns from Anstruther to Auchtermuchty, with main concerts in Dunfermline, Glenrothes and St Andrews. SG
Above Mud Morganfield, and right Champian Fulton. For the full programme click http://www.fifejazzfestival.com/2013-programme.html
The Hillside Mechanisms
Roland Ramanan, the trumpeter son of the influential West Indian trumpeter and poet Shake Keane to whom he paid tribute on the 2002 Emanem album Shaken, has with this trio record laid down a substantial footprint all of his own. Vole, on the record that’s Ramanan, guitarist/electronicist Roberto Sassi, and drummer Javier Carmona, in their band name sound as if they collect together as one small creature, but the album artwork with its mechanical drawings makes one think not of a small being but instead of a futuristic machine as the artwork has some extraordinary cylindrical apparatus depicted in diagram form. Ramanan, who is also known for his longstanding work with the London Improvisers Orchestra, as well as his bands Swift and Wooden Tops, was inspired early in his career by the drummer and educator John Stevens at a Search and Reflect workshop. In the album note to this Babel records release, one of the distinguished label’s finest, speaking of the Hillside in the title Ramanan refers to the road where the “laboratory” of drummer Carmona’s house has acted as a hub for musicians such as himself and guitarist Sassi, who has also created the artwork, “passing through”. What they concocted musically via this meeting of minds was to draw on pure improvisation and composed music. Ramanan, speaking further of “interesting interlocking rhythm structures as well as a certain gritty edge to it”, has an appealing tone, a little reminiscent of Don Cherry’s but also with the wildness of the European avant garde, say early Enrico Rava. There’s also a tenderness on a tune such as ‘No Knees’ that says hit the replay. An album that’s both free jazz and improv (sometimes it’s easy to say one or the other, harder to claim both), and to my mind this doubling indicates width and vision in both performance and improvisational approach. Co-operatively written the eight tracks with the unobtrusive electronic textures on ‘Tim’s Frosties’ just one of the ways the music manifests itself, the exploratory forays of Ramanan’s here and on other tracks, and prevailing drums, a little like the Sunny Murray approach, add up to an excellent album.
The Shearing Hour launches at Pizza Express Jazz Club on Thursday. It’s a solo piano hour beginning at 7.15, ahead of singer Clare Teal’s return to the club later in the evening. The first Shearing Hour, named after the great pianist and composer George Shearing, features a set from pianist John Turville whose trio album Conception was released in the autumn by F-IRE Records. The winner of a Parliamentary Jazz Award for best album in 2011 Turville’s debut Midas turned heads on release gaining a profile for the pianist and composer part of the burgeoning Walthamstow scene. On Conception, he was joined by Jamie Cullum bassist Chris Hill and drummer Ben Reynolds plus cellist Eduardo Vassallo on some tracks. The album highlight turned out to be its title track ‘Conception’, the George Shearing bop original arranged sympathetically by Turville.
The Shearing Hour with its theme of ‘September in the Rain’ has never been a better time to recall Sir George Shearing who died on Valentine’s day in 2011 at the age of 91. Famed for ‘Lullaby of Birdland’, the 1952 theme that was written for the original New York jazz club Birdland, Shearing was a hero of the beats and in On the Road Jack Kerouac writes: “Shearing rose from the piano, dripping with sweat; these were his great 1949 days before he became cool and commercial. When he was gone Dean pointed to the empty piano seat. ‘God’s empty chair,’ he said. God was gone; it was the silence of his departure. It was a rainy night. It was the myth of the rainy night.” Shearing who was blind was born in Battersea and after learning piano at the Linden Lodge school for the blind became a pub pianist in Lambeth, and after a break began recording for BBC radio in the late-1930s. He joined a band led by Harry Parry and won Melody Maker awards before two years after the war emigrating to the United States where he made a name for himself playing at New York night spot the Hickory House with the Oscar Pettiford Trio. Later he recorded for Capitol (famously with Nat King Cole one of several revered albums for the label), among other record companies. His quintet with vibes player Margie Hyams, guitarist Chuck Wayne, bassist John Levy and drummer Denzil Best recorded the best selling ‘September in the Rain’ for MGM and the quintet with different personnels ran intermittently until the late-1970s. The Shearing Hour, put together by Marlbank in association with Pizza Express Jazz Club, is a celebration of the great man’s music and an introduction to the fine talent of John Turville.
John Turville top and Sir George Shearing above. pizzaexpresslive.co.uk Visit the Shearing Hour on Pinterest for clips and photos http://pinterest.com/shearinghour/the-shearing-hour
Liane Carroll, David Lyttle, Mark Lockheart’s Ellington In Anticipation, Steve Davis, and Alexander Hawkins are part of the line-up of the first Brilliant Corners jazz festival, to be held in Belfast from 21-23 March at the MAC, the Black Box and the Belfast Barge. Taking place in the city’s Cathedral Quarter, the three-day festival, which draws its name from the classic 1957 Thelonious Monk Riverside album, is promoted by leading Northern Ireland producer Moving on Music.
Director Brian Carson says: “Many of today’s more popular music forms take direct influence from jazz and there seems to be a real movement at the moment. Jazz has had a bit of an image problem in recent years, which is definitely changing. We’re seeing a whole new audience coming to our events throughout the year, and an extremely talented group of new musicians emerging. It’s an exciting time.” The line-up is: Continuous Battle Of Order, Decoy (Thursday 21 March, Black Box); Meilana Gillard’s Fine Print (21 March, Barge); Ellington in Anticipation (21 March, MAC); David Lyttle and Interlude (Friday 22 March, Black Box); Ronnie Greer Blues Trio (22 March, Barge); Steve Davis’ Human (22 March, MAC); Arthur Kell (Saturday 23 March, Barge); and Liane Carroll (23 March, MAC). Stephen Graham
David Lyttle top right, to play the Black Box at Brilliant Corners, and Liane Carroll headlining at the MAC on the Saturday night