Some festivals hang around for ages to name their line-ups. Others don’t. So while the Edinburgh jazz festival in July is still a blank sheet as far as the line-up is concerned (wonder why?), Kings Place in London in September has announced its. The festival crams in well over 100 events over three days at the York Way complex near St Pancras station and St Martin’s art college. This year the festival runs from 13-15 September and besides jazz there’s lots of classical music, art and talks. Oddarrang, Slowly Rolling Camera, Vive and Jay Rayner’s Hungry Jazz: The Great American (Foodie) Songbook are first day highlights; while Saturday picks include singer Aimua Eghobamien, the Martin Speake trio, Nicolas Meier, and ECM band, Food. The Jason Rebello trio and Dave Stapleton’s Cellophony play on the Sunday. More at www.kingsplace.co.uk/festival
Dionne Bennett, of Slowly Rolling Camera, above.
Photo: Tim Dickeson
Seven Hills: imbued with the spirit of Bill Evans
Listen to 02, and Dark Eyes, and you’ll start to gain a glimpse of a hugely talented pianist whose much interrupted story starts again with Seven Hills. The Finn, also well known in Belgium having studied and lived there and where his wider reputation gained ground, has had his ups and downs as a fickle major label built him up and knocked him down before Tomasz Stańko, a great appreciator of piano talent, brought him into the fold to record Dark Eyes in 2009. Seven Hills, relating in its title to Lisbon, not the more obvious Rome,is increasingly, as the album develops, imbued with the spirit of Bill Evans and it’s a feeling that grows and grows like a rhapsody. With Tuomarila are highly cultured bassist Mats Eilertsen who’s also a member of Tord Gustavsen’s ensemble, and ex-Stańko drummer Olavi Louhivuori, plus Lisbon-born guitarist André Fernandes, who plays a little like Jakob Bro, on a couple of tracks. Nine tracks in all, beginning with the guitar-flavoured title track highlights are the fast flow of ‘Cyan’ decanting into unaffected melodicism; later ‘Visitor Q’ is gloriously quiet and unvarnished; and then Eilertsen’s bass opening to the folkloric ‘Miss’ has an involving poignancy that the album as a whole shares without being twee at all. The earlier ‘Skuld’ draws together a range of influences, again Bill Evans and perhaps Jan Johansson, with Eilertsen’s buzzy drone and jump-off riff bringing out the subtlety of Louhivuori, as Tuomarila measures his solo like a surveyor with a theodolite. SG
Alexi Tuomarila, above. Photo: Edition
Ideal for Record Store Day, Cardiff jazz indie Edition, partnering with London vinyl specialists Gearbox, has released a limited heavyweight vinyl edition of Kenny Wheeler, Norma Winstone, and London Vocal Project’s Mirrors, a big highlight of the springtime jazz releases so far this year.
With all music by Kenny Wheeler, the poetry of Stevie Smith (1902-1971) lies at its heart, and Wheeler’s music has meshed with it perfectly. But it’s not just Smith whose work forms the text for the vocals element, here interpreted by the 25-strong LVP split into sopranos, altos, tenors and basses, with Wheeler joining on flugelhorn, Winstone the featured solo singer, pianist Nikki Iles, Polar Bear’s Mark Lockheart on saxophones, bassist Steve Watts, and drummer James Maddren. Besides settings of Smith’s work, the highlight of which for me is the delightful ‘Black March’ (‘I have a friend/At the end/Of the world’), there are settings of Lewis Carroll, and briefly WB Yeats.
Delight is a word that constantly springs to mind, an echo of ‘I sing this song for your delight’ on ‘Humpty Dumpty’ at the beginning. The singing is lovely throughout, ethereal, and endowed with a life force all of its own. Somehow everything manages to remain understated yet has impact, the unique charm of the album.
What goes around: Local record shops are back from the dead
Record Store Day isn’t just about the special editions and novelty items released for the big day today. It’s primarily about going to a record shop. That’s actually stepping foot in one. For most people now it is a distinctly odd experience to do just this as it’s a thing that has gone out of fashion. When CDs were new the music industry predicted for years that the end was nigh for vinyl, and now the writing is on the wall for CDs, yet they too are still with us. The last two years has against all industry wisdom seen a big uplift in vinyl sales. Ask a label such as Gearbox who have responded with enthusiasm to the turn-up in trade and they’ll tell you about their Record Store Day plans, and that’s just for one. More at: http://www.marlbank.net/post/47693394770/record-store-day-approaches-hip-to-the-beat.
Sphere: Barronial sounds
While genuinely rare vinyl attracts often staggeringly high prices on a par with a particularly fine vintage wine, relatively recent releases, particularly 1970s and 80s pressings of hard-to-find albums can still be snapped up for less than £10. And of course there’s the added bonus of artwork coming with the vinyl, and album information that digital formats are less equipped to handle unless you like tiny thumb nails run off on a home printer. But it’s not really about trophy items. Pop in, like I did earlier in the week, to an old favourite shop such as Alan’s in north London, where I was delighted to pick up Sphere’s Flight Path. Put out in 1983 a decade that many from the counter-culture generation thought was the death of music itself, on the back of this white Elektra Musician liveried cardboard cover there’s a pipe-smoking Charlie Rouse and the band grouped around him (that’s Buster Williams, the great Kenny Barron and Ben Riley) simply smiling. Put on first track ‘If I Should Lose You’ and you’ll join me in smiling too. And that’s what great music does, and you’ll find it nearer to you than you might think, in a last record shop standing, or not, and not just on Record Store Day. SG
Miles Davis Quintet
Live in Europe 1969: The Bootleg Series Vol. 2
Columbia/Legacy (3 CDs and a DVD) ****
Recorded live in France, Sweden and Germany separated by less than four months these quintet recordings are a curiosity, the work of what’s being called a ‘lost band’ or more optimistically ‘the third great quintet’. It never released a studio album. The bootleg in the subtitle is slightly deceptive as these are official recordings made by European radio stations, not the work of fly-by-night characters with microphones hidden in their coats, and follow the first in the series a 1967 recording released two years ago. Miles is here with Wayne Shorter, the last remaining second quintet member besides the trumpeter; Chick Corea on electric piano and piano; Dave Holland on bass; and Jack DeJohnette, drums.
Tucked inside the box’s sleeve on the back of the pull-out notes there’s a black and white poster depicting four of the band with Wayne sporting a slight moustache caught in the middle of a solo, and Miles eyes shut standing beside him wearing leather trousers, DeJohnette at the back is in a stripy shirt, and a bearded Holland is looking down as he plays. They were even more snappily dressed in the Berlin video with Corea looking sombre.
Each album has stage introductions and share some songs although none are exactly the same in terms of tunes. There are two versions of ‘Miles Runs the Voodoo Down’, for instance, the first on the opening CD with Holland’s riff ringing clear and true. ‘Bitches Brew’ crops up on both the final CD recorded in Stockholm and on the DVD. Corea’s ‘This’ on the Stockholm CD, the producers note, Miles never officially recorded.
Downbeat writer Josef Woodward in the notes quotes Chick Corea who explains that the recordings “document an important step in Miles’ artistic development which take us from the famous suit-and-tie wearing quintet with Herbie… through to this quintet, which definitely leaned more towards the rock and beat generation.”
With electric piano and increased volume at times you can see what he means but how intense is the music? Well it’s not as in-your-face as say the Isle of Wight concert or some later studio sessions but there is plenty of fire power, the first a coiled fist within the velvet glove of ‘Sanctuary’ say and the abstractions of Corea on electric piano do give the music a very modernist edge. But contrast this with the beginning of ‘Milestones’, which sounds actually very old in the opening theme, like a jam session Miles might have played on in the earlier part of his career. Yet listen on and a transformation takes place: DeJohnette’s slashing rhythms are so very different. A track such as ‘Nefertiti’ on the second Antibes CD shows how modern the band is, the nihilism of Corea’s solo early on, say, and the blare and loneliness of ‘Sanctuary’.
George Wein’s polite introduction to the Stockholm concert leads into ‘Bitches Brew’ and this is when for me the music really gets going, more rock-inclined and getting pretty out there rapidly. DeJohnette is vital: providing rolling thunder in a makeshift laboratory. ‘This’, with its shrill opening, is an eye opener. Produced by Richard Seidel and Michael Cuscuna the set is yet another distinguished piece of curating “all in Honor of Miles Davis”. For the Miles Davis obsessive in your life, and those who are verging in that direction, it’s a must.
The Poet’s Embrace
Warner Jazz ****
At last gaining a UK release it’s the best album yet by hipster Haines playing a 1964 Selmer Mark VI
Dance music’s loss may well be jazz’s gain, as the New Zealand tenor saxophonist relocates his sound firmly within the spiritual domain. With his quartet here (pianist Kevin Field, bassist Thomas Botting, and drummer Alain Koetsier) the band journey deep into John Coltrane quartet territory rather than say Alice’s later experimentations beloved of the Mancunian Gondwana school. Dig deep, go way back and make it sincere, and Haines does this very admirably.
Best heard on vinyl
A big gutsy sound, not too dissimilar to Alan Skidmore’s Coltranian tenor approach but with a dance floor skip inevitably folded in, on a ballad of the quality of ‘Offering’ Haines manages to reproduce the feeling Trane put into the different sounding ‘Naima’. That’s no small feat. Using vintage microphones and recording in analogue in Haines’ native New Zealand The Poet’s Embrace is detailed without being stuffy and should appeal to Impulse! obsessives everywhere. Most of the tunes are Haines’ but there’s a suitably laidback take on a tune credited here by Patrick Forge in the notes to Yusef Lateef but also confusingly in the credits to Song For My Father drummer Roy Brooks whose version of ‘Eboness’ (from 1973 Im-Hotep album Ethnic Expression) is nonetheless hugely collectable whoever the author is. Best heard, it’s almost compulsory to say, on vinyl: but the CD sound is immaculate. SG
Released on 6 May
Nathan Haines, top, and the album cover above
Man of mystery Sam Lasserson joins Ethan Iverson above and Jeff Williams at the Vortex tomorrow
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 tomorrow.
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 it’s with man of mystery, bassist Sam Lasserson, and the more familiar ex-Lee Konitz drummer and Dave Liebman associate, Jeff Williams whose new quartet album The Listener is released in June. But who exactly is Lasserson?
Well, the bassist (above) is in ECM saxophonist Martin Speake’s quartet, and plays with rising star of the guitar Hannes Riepler, the “Country Gentleman” player who has been helming the burgeoning Sunday night jam downstairs at the Vortex. Lasserson obviously keeps good company.
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. Be prepared to stand.
www.vortexjazz.co.uk, Saturday 20 April
Steve Coleman and Five Elements
Pi **** Album of the week
There’s always been a thirst for knowledge with Steve Coleman, and an urge to connect his musical explorations to the wider world. “The title of this recording,” the MBASE originator says in the sleeve notes, “refers to paths of modulating heartbeat-like rhythmic melodies that function similar to the contrapuntal firing of nerve impulses.” And he goes on to explain that the compositions were created spontaneously, then transcribed, and then more improvisations added to “arrive at the final compositions performed by the ensemble.” Coleman credits drummer Milford Graves for his research and music that allowed him to “first become aware of the connection between the biology of the human body, the human soul and music.”
The 14 tracks of Functional Arrhythmias feature the Five Elements in quartet or quintet formation, the main difference between the two settings being the tracks that don’t feature guitarist Miles Okazaki.
Cultured British bassist Anthony Tidd who now lives in the States is back in the Five Elements fold and he plays an important anchoring role throughout but the main drama of the record is the trialogue between saxophone, trumpet, and drums.
When you hear a Steve Coleman record or see him live (for instance most recently with Reflex during the London Jazz Festival in 2011) the sound is immediately identifiable. After all, Coleman invented a whole sound that has influenced a new generation of what people now loosely call “maths jazz” musicians, or for those longer in the tooth, still MBASE. Musicians such as Tom Challenger and Tom Farmer most recently have followed in the wake of Vijay Iyer and before Vijay got the MBASE bug, Steve Williamson, and Barak Schmool who spread the message to his F-IRE Collective adding to other new ideas.
Its base sound is avant funk with a rough edge mixed in with bebop although as the years have gone by there are few clichés of classic bebop left. On a track such as ‘Medulla-Vagus’ there is an Afro-Cuban layer to the abstract picture Coleman paints (an element Coleman has investigated before extensively), while on an Improv-heavy ballad such as the very stark ‘Chemical Intuition’ once more Coleman’s debt to Bunky Green’s sound comes through, and Jonathan Finlayson manages to channel the late Bill Dixon a little. Sean Rickman plays time and no-time on a track such as ‘Chemical Intuition’, and when trumpet, sax and drums play separate melody and rhythm lines the true no-safety-net improvising approach can be glimpsed. This record is about the naked improvising method customised by Coleman as he explained in his method mentioned earlier. It’s uncompromising, and a worthy successor to Harvesting Semblances and Affinities his first album for Pi.
Last year I was chatting to David Murray at the London Jazz Festival launch briefly and I asked him about Curves of Life, the Paris live album he appeared on with Coleman back in the 1990s. Murray’s eyes lit up, and agreed that he thought it was some of Coleman’s best work. Although Coleman’s music is very different now but just as appealing, its essence is no different to Curves of Life. Rhythm is key, and when blocks and drum rhythms embed themselves behind the loose off-beats and off kilter momentum often implied, as on ‘Cerebrum Crossover’, a tipping point is reached. It’s another language entirely, one that now has many dialects, but Coleman is the source and this fine, inspirational album is a reminder of just what he has to say: and how potent that message still is.
Steve Coleman above and the cover of Functional Arrhythmias. Out now
Paul Edis Sextet
There Will Be Time
Jazz action ***
A second release involving 27-year-old north east pianist Paul Edis, following his appearance on ACV’s Babel debut Busk released earlier this month, There Will Be Time, with a clock on the front depicting the timepiece’s hands stuck at eight minutes past ten surrounded by autumnal leaves, is a three-horn sextet full of the spirit of the Jazz Messengers even if the muted trumpet of Graham Hardy on opener ‘Administrate This!’ seems to dig back further stylistically to Rex Stewart or Buck Clayton. There are a dozen tunes, mostly written and arranged by Edis, and it’s pretty orderly modern mainstream stuff: exuberantly brassy on ‘Re: Vamp’, with Edis dismantling his chords behind the plaintive trumpet melody, and drummer Adam Sinclair lending an air of solid authority as he does throughout. Edis can sound like a disciple of Herbie Hancock or Horace Silver at times and favours accessible licks and funky solo lines but perhaps the easy going tempi make the tunes just too digestible. The funky turns and twists on ‘Sharp 9/8’, though, exhibit plenty of spirit and it’s likeable enough fare by a promising pianist. SG
As an enfant terrible Django Bates last played the Proms with Loose Tubes some 26 years ago, but it’s just been announced that the composer/ pianist is to return to the Proms this year to celebrate another great maverick: bebop pioneer Charlie Parker. The concert will also include the UK premiere of a new Bates piece called ‘The Study of Touch’.
Bates will be joined for the concert by his Belovèd Bird trio, the Norbotten big band from Sweden, and Ashley Slater (Freak Power) with a programme of Bird-related tunes.
The BBC Proms this year in addition to the main classical programme, dominated by Daniel Barenboim’s complete Ring cycle with the Staatskapelle Berlin also feature a gospel prom; an appearance by a cappella group Naturally 7; a performance of Frank Zappa’s ‘The Adventures of Greggery Peccary’; an urban classic prom with Jules Buckley leading the BBC Symphony Orchestra bringing together the music of Fazer, Henze, Laura Mvula, Mosolov and Maverick Sabre; and a World Routes prom featuring Fidan Hajiyeva, Gochaq Askarov, Bassekou Kouyaté & Ngoni Ba, and Tinariwen. SG
The full programme is at http://www.bbc.co.uk/proms
Django Bates, above, plays the Proms on 28 August at 10.15
Jazz bookings this year include Charles Lloyd and Vijay Iyer
Quincy Jones, who turned 80 in March, will during this year’s Montreux Jazz Festival combine a special birthday concert with a tribute to Claude Nobs at the first festival to be held since Nobs’ death following a skiing accident.
The concert will feature Patti Austin, James Ingram, Siedah Garrett, Nikki Yanofsky, Emily Bear, Alfredo Rodriguez, Andreas Varady, and Justin Kauflin taking part.
At Montreux this year jazz bookings also include Charles Lloyd, Gregory Porter, the Joe Sample trio, Avishai Cohen Quartet, Vijay Iyer trio, Youn Sun Nah, José James, Jonathan Batiste and Stay Human, with Bob James and David Sanborn reuniting, and George Benson.
Pianists Michael Wollny, Iiro Rantala, shortly to perform with the EST Symphony in Stockholm, and Leszek Możdżer will also appear in Montreux at the ACT label night.
The festival is always a mix of jazz and stellar names from rock, R&B, and pop, and will also feature Leonard Cohen, Lianne la Havas, Green Day, Prince, and Sting as headliners.
For the full line-up just announced go to www.montreuxjazz.com
Quincy Jones, above
New producer Sushil Dade
Sushil Dade is the new producer of BBC Radio 3 Sunday night show Jazz Line-Up. Long time producer Keith Loxam, who has been synonymous with the show since its beginning, and who was recently nominated for a Parliamentary Jazz Award for services to jazz, is retiring at the end of June.
Glasgow-born Dade grew up listening to Bollywood and Indian classical music, and has worked in the past as a content producer for BBC Radio Scotland and produced Radio Scotland’s Jazz House show. He also produced the first BBC Radio Scotland young jazz musician of the year competition for the station. Dade has also served on the board of the Scottish Academy of Asian Arts, and as a specialist music advisor at the Scottish Arts Council. Story: Stephen Graham
Sushil Dade above. Photo: BBC
Danzón take on ‘Solar’: a clever departure
Alex Wilson Records ***1/2
A prisoner to his big technique and eclecticism at times, the trio format on Trio released earlier this week suits Alex Wilson well although the sequencing here doesn’t do him any favours. Big, booming number ‘Kalisz’ named for Paweł Brodowski’s piano festival in Poland is an early peak (it might have been better at the end) but ‘Remercier les travailleurs’ with its Malian lilt is less overly energetic and all the better for it, allowing bassist Davide Mantovani more scope. It’s great to hear drummer Frank Tontoh in a trio setting on an album again, although you can often hear him in clubs such as Hideaway regularly. Recorded live in London and at the Warwick Arts Centre in Coventry, as well as in studios in the capital, the danzón take on ‘Solar’ is a clever departure, and listen hard and you’ll find plenty to enjoy. Not sure about some of the tinkling applause at the beginning of some of the tracks as it makes everything resemble a vicar’s tea party. That’s not much of a drawback on an otherwise effortless sounding release by a pianist clearly hitting his stride.
Alex Wilson top left with Frank Tontoh and Davide Mantovani
A Different Time
Medeski originals, gospel, and Willie Nelson’s ‘I’m Falling in Love Again’ feature on new solo piano album by the jam band hero
The spine says it all. On the far left on black the yellow letters in a familiar handwritten script allow the eye to catch the word “OKeh”. It’s tiny. As the label is owned by a major record company there’s only so much romance in its return, but A Different Time is the first album to appear since welcome news came that the historical blues and jazz label is now back in the land of the living and signing again.
Stepping back in time is what the record is about. A solo piano release recorded on a French period Gaveau piano, an instrument known for its crafted cases, manufactured by a company originally founded in the mid-19th century. Medeski in the notes says this 7-footer dates back to 1924 and “the feel is very different” and that “one must sing with the fingers.”
It’s a very quiet often elegiac album and gets that bit more whisper-soft after opener ‘A Different Time’ on Willie Nelson’s ‘I’m Falling in Love Again’, which has a sort of musical box quality to it that’s new and sometimes on the record you have to do a double take. After all with Medeski Martin & Wood in the early-1990s Medeski got swept up in what became known as the jam band phenomenon, often with Hammond organ leading the swelling youth-friendly grassroots movement as at ease in indie rock clubs and outdoor festivals as it was in jazz spots.
A Different Time is the antithesis of groove and acid jazz. Most of the tunes are by Medeski except the Nelson just mentioned and an arrangement of Gabriel and Martin’s early 20th century gospel hymn ‘His Eye is on the Sparrow’. At its best, on say the lovely opening to ‘Graveyard Fields’ or the melodic exposition of ‘Luz Marina (From Mama Kia)’ the album shows another side to Medeski; at its worst it is that bit too ponderous.
On the cover there’s a piano on a flying carpet and a song such as ‘Luz Marina’ does just about have the ability to transport you to a land beyond the temporal sphere. For instance ‘Waiting at the Gate’ grows beautifully, like a Randy Newman song, with an air of optimistic expectation the album to that point had lacked and this song has a quiet grandeur to it, one that might outlast everything else on the album in my mind. So all in all very much the contemplative side of Medeski on display, in an album that has its moments but doesn’t always ignite. Stephen Graham
John Medeski above. Photo: Michael Bloom
Kendrick Scott, Julian Siegel, and Sam Leak jam at Ronnie’s
Kurt Elling was having his picture taken with fans as the Ronnie Scott’s door staff last night let a bunch of people standing on the street in for the Late Late Show. He had just completed the second night of his sold out residency at the club this week, and there’s a buzz about the place.
The late show hosted by Alex Garnett, the diminutive flat cap-wearing saxophonist who can whip up a solo from the lower reaches of his horn with all the panache of a conjurer, was hosting the show, a featured band-led jam session for night owls after eleven, and this was a chance to let touring US alto saxophonist Patrick Cornelius and his quartet show their undoubted class. The altoist may have kept his very best to last, to around 2am, with a fine take on his hero Charlie Parker’s tune ‘Dexterity’, but Cornelius with old friend Michael Janisch on pulsing bass and tasteful guitarist Phil Robson (pushed along by drummer Andrew Bain) called the shots harmonically on demandingly sinuous advanced bebop.
Garnett, who has a winningly deadpan patter introducing the musicians, encouraged a “quiet roar” from the sizable late night turn-out for a line-up of great players who then joined to jam. Besides Garnett on tenor another fine tenor attraction was Julian Siegel standing lean and mean attacking like a latter-day Sonny Rollins, and with pianist Sam Leak joining in, Harold Arlen’s ‘My Shining Hour’ was the pick of this section of the session. Arlen oddly has made headline news this week for very different reasons as the writer of ‘Ding Dong’, now a Margaret Thatcher protest song currently at number two in the charts.
The promising Konitzian altoist Allison Neale impressed on a few numbers with ‘Stars Fell on Alabama’ the pick, and Kendrick Scott from the Elling band in residence really turned up the heat when he joined. And then towards the end former Amy Winehouse guitarist Robin Banerjee found those friction-heavy percussive sounds at low volume on the instrument only he seems to know how to locate: a nice surprise.
Elling with his young daughter stayed to observe the jam for a while, and the Kurtster’s drummer Kendrick Scott told me later after he had eaten supper that he is in talks with promoters Serious to bring his band Oracle to the UK. Let’s hope this pans out as their latest album Conviction is one of the best jazz releases to appear this year, burning as it does with sheer energy and packed full of strong compositional ideas. Elling pianist and main man Laurence Hobgood chatted about his former Naim labelmate the late Chris Anderson, and reminisced about meeting Alan Broadbent which he said was “a thrill”. He also intimated that he’s putting together a new band for the autumn, featuring a trumpet in the line-up. When I asked who he’d envisage filling that role the pianist and arranger said unblinkingly: “Terence Blanchard.” Let’s hope that exciting prospect shapes up. SG
Sonny Rollins and Wayne Shorter among the giants of jazz performing in 21st running of the London Jazz Festival
Tickets go on sale on Friday for some of the big names just announced for the 21st London Jazz Festival to be held this year. With the BBC having now ended its long-running commitment as a festival sponsor the LJF adds three replacement letters, EFG, a private bank, who have been involved with the festival since 2008, in the corporation’s place. The festival which runs from 15-24 November will also feature Jazz Voice on opening night at the Barbican; Hugh Masekela and Larry Willis; Stan Sulzmann’s Neon Orchestra; Arild Andersen; Schlippenbach Trio vs Noszferatu; the Wayne Shorter Quartet and BBC Concert Orchestra at the Barbican; a Charlie Parker on Dial jazz theatre event; Sonny Rollins this time at the Royal Albert Hall; Tigran Hamasyan + Elina Duni; Mehliana; John McLaughlin and Zakir Hussain: Remember Shakti; Gilad Atzmon at the QEH; and Madeleine Peyroux at the Festival Hall.
Sonny Rollins above
Erin Boheme + Tammy Weis, Hippodrome, London tonight
When jazz and pop collides it can be messy. But if the tunes are good, the spirit’s right, the words to the songs possessing a staying power, delivered by a confident performer then what’s not to like: it’s not as if it’s life or death, is it?
Tonight at the Hippodrome in London’s west end Wisconsin-born Erin Boheme makes her London debut following the release of What a Life last month on Heads Up. She’s to be joined by Tammy Weis, a London-based Canadian singer who’s a well kept secret until, well, now on the London jazz vocals scene. Tammy’s also co-written one of the songs on the album as previously reported in these pages. Michael Bublé no less has produced this album… so 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 commercial framework rather than the flawed smooth jazz format that is now disappearing. Contrast the Eric Benet smooth jazz version of ‘The Last Time’ with the version here and there’s a huge difference in interpretation, and it’s less cheesy for sure. In Benet’s take on his own highly effective melancholic song, co-written among others with famed songwriter David Foster incidentally also chair of the Verve Music Group (who penned ‘I Have Nothing’ for the late Whitney Houston), 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 Caro Emerald-esque rumba ‘Everything But Me’, Tammy’s song, which is close enough for jazz put it on Born To Sing: No Plan B. Why Boheme needed to cover a Coldplay song I don’t know, and I didn’t care one bit 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.
Erin Boheme above
With the Pizza Express Jazz Club currently closed for a refurbishment to the restaurant upstairs (it’s opening up again next week), there’s no better time to check out the club’s sister venue the Pheasantry. This week at the restaurant venue on the King’s Road, a jazz and cabaret place that’s built up a loyal following in the last few years, pianist Dominic Alldis is appearing on Friday and Saturday, following the release of A Childhood Suite earlier in the year. That release, a trio album "for jazz piano trio and orchestra", picks up from earlier album Songs We Heard with bassist Mark Hodgson and drummer Stephen Keogh that first drew on the idea of a trio improvising on nursery rhymes from around the world. A Childhood Suite reworks more than a dozen of these arrangements, adding a string section and containing an Alldis original. The album has a simplicity and sincerity rare these days in the hustle and bustle of the record industry demanding a certain crash, bang, wallop approach. ‘London Bridge is Falling Down’ is typical of some of the momentum generated by the trio, and with a dark opening, the mood changes to allow for a developing momentum and joyousness that many of the other improvisations also possess. Very much in the Jacques Loussier or David Rees-Williams stream of light jazz and classical synthesis it’s an album that never lacks for charm and empathy, with some lovely moments along the way including the captivating Vaughan Williams-like violin solo and fine arrangement on ‘Girls and Boys Come Out To Play.’ Alldis is appearing at the Pheasantry in duo with the fine saxophone player Alex Garnett.
There must come a time when an artist wakes up and says: “I’m going to do a ‘with strings’ project”. Purists or the jaded might roll their eyes not another one, but you would be a brave person to second guess Avishai Cohen. The charismatic Israeli bassist and singer, an inspiration to leading UK bands Phronesis, Kairos 4tet, and a generation of progressively minded young improvisers around the world, is to debut his “with strings” concept at the Barbican in London on Tuesday 7 May. This video of ‘Russian Song there’s a link below gives you an idea of what to expect.
Cohen’s ensemble based around the trio of pianist Nitai Hershkovits, who the bassist recorded Duende for Blue Note with an album released last year, and drums of 19-year-old Ofri Nehemya (on superb form recently in London with Eli Degibri) adds the strings/wind quintet of violinist Cordelia Hagmann, viola players Amit Landau and Noam Haimovitz Weinschel, cellist Yael Shapira, and oboist Yoram Lachish.
Expect arrangements of Israeli love songs, and music by Mordechai Ze’ira, with Ladino songs, as is often the case at Cohen concerts, a feature, and extracts from Avishai’s ‘Concerto.’
Avishai Cohen above
‘Russian song’: http://www.youtube.com/watch?v=Mlncsn-r10Q
Tap: The Book of Angels: Vol 20
Nonesuch/Tzadik **** RECOMMENDED
There’s going to a lot of interest in this album on the avant jazz circuit, mainly as it acts as a prelude to the Zorn@60 festival touring activity this spring and summer, ahead of John Zorn’s birthday in September. For Metheny Tap is the third in a trilogy of out-there albums, not as shocking as Song X or his collaboration with the late Derek Bailey were but that’s not really the point. It would be more of a sensation in a way if blazing controversy was the only point. A duo album, drummer Antonio Sanchez is Metheny’s foil although it’s a subsidiary role this time apart from on the final improv-heavy track as the guitarist has typically come fully equipped with numerous guitars, sitar, tiples, bass, keyboards, orchestrionics, electronics, and much more, and plays expansively.
The musical ideas of Zorn Metheny is performing date back to the 1990s and these half dozen songs based on traditional Jewish music are but a small fraction of the 300 songs belonging to the second of what Zorn calls the “Masada Book”. Where Zorn ends and Metheny begins can be traced fairly easily to ‘Tharsis’, the third track, which starts with the atmosphere of a village dance and then with a deep synth guitar crunch Metheny, well, is just unmistakeably Metheny, with the lovely minimalist overdubs his trusty companion. It’s a fairly hi-tech record that nonetheless retains its humanity, although with a certain mystical apparatus attached, archangels or no. ‘Mastema’ at the beginning has the most driving jazz-rock intensity, while ‘Sariel’ is the most “middle Eastern” in a way although it twists and turns into a kind of road movie, swapping sensuality for a rickety momentum that is both appealing and different. ‘Phanuel’ becomes a love song by the end, as the curtain of disembodied voices and altered rhythmic emphasis reduce the overall effect to an evocative essence. Tap has some gorgeous moments, and Metheny is simply marvellous, negotiating the complexities of the writing with consummate artistry. As an early birthday present to Zorn what could be better?
Released on 20 May
Pat Metheny, above
Tune into Jazz on 3 tonight on BBC Radio 3 for the first UK airplay of ‘Mastema’
Time machine: Basquiat Strings as they were
They might have to graffiti the news on the walls but Basquiat Strings, a band that led the way in fusing cutting edge jazz within a strings format, is returning after an extended hiatus to release an album long in the can called Part Two next month. A new-look Basquiats line-up will also tour.
Part Two (F-IRE) was recorded just two years on from picking up what was a welcome but surprise Mercury nomination in 2007 that cemented their reputation and paved the way for the zeitgeist across Europe to encompass other similarly minded ensembles, such as radio.string.quartet.vienna and later the Atom String Quartet in Poland.
The Basquiats on their debut album Basquiat Strings With Seb Rochford were able to reimagine material such as Ornette Coleman’s ‘Lonely Woman’ but now the band’s leader Ben Davis says Part Two: “Is an extension of the first record, producing an alternative string sound from the spontaneity of jazz, rawness of ethnic sounds, and finesse and heavy arco attacking fusion of classical/contemporary music.”
Second coming: album due on 13 May
The Basquiats on the album are the violins of Emma Smith (who also features on the acclaimed new Ellington in Anticipation record) and Vicky Fifield; with Jennymay Logan, viola; Ben Davis, cello; Richard Pryce, double bass and Seb Rochford, drums; plus violinist Amanda Drummond and Outhouse drummer Dave Smith, on some tracks. All the tunes all composed by Ben Davis apart from the final track and are: ‘Calum Campbell’, ‘Bobette II’, ‘History of Her’, ‘Slopes’, ‘Scam’, Great Gables’, ‘Bebella’ ‘Jack and Jill’, ‘Hop Scotch’, and ‘It Ain’t Necessarily So’. Tour dates with Davis joined by Seb Rochford, Fly Agaric’s Fred Thomas on bass, and Newt guitarist Graeme Stephen are: Village Hall, Hunton (Kent) 16 May; Vortex, London 17-18 May; Stables, Milton Keynes, 19 May; Queen’s theatre, Barnstaple, 22 May; St George’s, Bristol, 23 May; and Warwick Arts Centre, Coventry, 25 May.
40 Kurt Elling tracks
Ahead of the Kurt Elling Ronnie Scott’s residency this week here are 40 tracks featuring the singer that pack the biggest punch in terms of interpretation, delivery, and overall performance to whet your appetite
40 ‘Rosa Morena’ bossa time from This Time It’s Love. Understated and all the better for it.
39 On ‘The Beauty of All Things’ Elling showed his control at speed on this nimble track from The Messenger.
38 On ‘I Get Along Without You Very Well’ part of Elling’s appeal is his maturity and believability. From Flirting With Twilight.
37 ‘Matte Kudasai’. Who would have thought it? The Kurtster does King Crimson. Laconic and persuasive. From the Don Was-produced album The Gate.
36 Lovely swinging stuff from the band on ‘April in Paris’, and Elling responds and how! Featured on The Messenger.
35 No pressure let’s be Frank: on ‘Come Fly With Me’ Elling doesn’t do the obvious and refuses to deal with it as a swinger. He adds new depth in the process. From the new 1619 Broadway album.
34 On ‘Norwegian Wood’ Elling opens the song up, and what a guitar solo from John McLean. From The Gate.
33 ‘Remembering Veronica’. Adventurous but still familiar. From Close Your Eyes.
32 Wonderfully weighted take on Paul Simon’s ‘An American Tune’, a highlight of 1619 Broadway. Elling does mournful.
31 On ‘Orange Blossoms in Summertime’ it’s hip and laidback. From Flirting With Twilight.
30 ‘Pleasant Valley Sunday’ is the ultimate Elling suburban critique, and a nod to Ken Nordine into the bargain. From 1619 Broadway.
29 ‘After the Love Has Gone’ sees Elling step back into a private zone. Quietly moving. From The Gate.
28 ‘Smoke Gets In Your Eyes’ from Live in Chicago. An over familiar song holds no fear.
27 ‘Tutti for Cootie’ Ridiculously catchy and lively, it’s wise guy time. From the new Brill Building album.
26 ‘You Send Me’ also from 1619 Broadway. A vibey treatment.
25 ‘A Time for Love’ from This Time It’s Love, and Elling shows he’s not just sentimental and blue.
24 ‘Lil’ Darlin’’ can be a boring big band staple these days. In Elling’s hands at a slow tempo it more than earns its place on this list. From Flirting With Twilight.
23 Scat time ‘Downtown live’ from the Live in Chicago album: “Sing along now”, says Kurt!
22 ‘Higher Vibe’ from Man in the Air. The spiritual side without any of the usual phoney banter.
21 On ‘Easy Living’ the horns respond as if Elling is a horn player himself. From Flirting With Twilight.
20 A very nuanced take on ‘The Very Thought of You’. Again from This Time It’s Love, made during Elling’s Blue Note years.
19 ‘Man in the air’: ‘He can fly off anywhere’ can the man in the air, and so too can Elling on the title track to one of his best albums.
18 ‘Steppin’ Out’ is about turning a likeable enough pop song into a classic swinger. Elling makes Joe Jackson’s song really move. From The Gate.
17 ‘Prelude to a Kiss’ from The Messenger: E is for Ellington, too.
16 ‘Tight’ from Night Moves. Sage advice from the singer. Truly effortless.
15 ‘Night Dream Live’, on home ground on the live Chicago album. Tremendous impact and band energy here.
14 ‘They Say It’s Wonderful’ Warm and swinging. From Dedicated to You.
13 On ‘Minuano’ it’s a case of getting completely inside the Pat Metheny classic composition. From Man in the Air.
12 On ‘Nature Boy’ the Chicagoan is optimistic and elegant as he powers up on The Messenger.
11 ‘All Or Nothing At All’ from the Coltrane and Johnny Hartman album Dedicated To You. Lots of drama and this live recording crackles with energy.
10 ‘Time To say Goodbye’: comforting and comfortably accomplished. From Man in the Air. There’s no need to try to impress any more.
9 ‘I’m Thru With Love’, Elling’s great on material associated with Nat King Cole. From Flirting with Twilight.
8 ‘A New Body and Soul’ from Nightmoves. Technique, expression, improvisational flair, it’s got it all.
7 ‘Ballad of the Sad Young Men’: Almost dropping the tempo to a dead stop on this Landesmann/Wolf classic back in the 1990s on Close Your Eyes.
6 ‘Lush Life (Live)’ Classic take on the Strayhorn song. From Dedicated to You.
5 ‘You Are Too Beautiful’: Corny but effective. The audience love it and they’re not faking. Again from Dedicated to You.
4 ‘In The Winelight’ from Man in the Air. It’s all about the feel. Almost genius.
3 ‘Golden Lady’ a tremendous counter-intuitive version of Stevie Wonder’s song. From The Gate.
2 ‘Nancy With the Laughing Face’. Phil Silvers’ song got very lucky. From Dedicated To You.
1 ‘Nightmoves’ Darkness and light come together on this Michael Franks song. From the 2007 album of the same name.
Jamil Sheriff Big Band
Pianist Sheriff lectures at the Leeds College of Music as do some other members of the 16-piece big band here, beginning modally on ‘Future Car’. It is, despite the title, a lively 1950s-era set of wheels that runs on gas rather than petrol (or for that matter hydrogen), equipped with a tantalising solo from Jamie Taylor who then digs digger with a more extensive feature on third track ‘T.T.F’. Nine tracks in all composed and arranged by Sheriff, the title track (the word refers to the study of fish) has a lovely far-away feel to it in the horn theme eventually allowing Sheriff to emerge. The pianist, who’s 36, formed his own octet a decade ago and released Daydreams on GLP and later Backchat for 33 records five years ago, so he’s a seasoned bandleader and composer and Ichthyology points to further development three years on from the big band having been founded. His influences on the evidence here seem to range from Gil Evans (‘T.T.F’) to Oliver Nelson (at least as far as the horns are concerned), and Sheriff likes close harmonies and improvising around a scale. You’ll hear little clashes rather than blaring horns in his arranging but in a year when prevailing fashions have favoured Ellingtonia this is a bit different. Of the soloists Tori Freestone from Compassionate Dictatorship on flute particularly emerges well, and Taylor is a name to watch out for. SG
June Tabor, Iain Ballamy and Huw Warren’s Quercus released earlier this month is a folk-jazz revelation, an album that not since 1990s-era band Lammas with saxophonist Tim Garland, and Don Paterson now a leading poet, has jazz and folk combined so effectively. The record also combines English folk traditions with hints of Celtic songcraft, a very unusual feat deftly accomplished. Touring at the moment with dates at the Stables in Milton Keynes tomorrow, Exeter on the 23rd, and then Bristol, Gateshead, Coventry, London and Salisbury, the band having taken on the name of the album straddles folk and, by association and intent, jazz. The 11 songs on the record have taken some time to be released, seven years since they were recorded in Basingstoke on a fabled piano in the town’s Anvil venue. But it’s more than worth the wait and it’s Warren’s interplay with the full expressive sound of Tabor’s voice (like Norma Waterson’s slightly, but darker than Christine Tobin’s) that counts.
Iain Ballamy here and in Food recently has been on the form of his life, and his solo for instance on ‘Near But Far Away’ distils a life time’s work on ballads. At the end ‘All I Ask of You’ is a reminder of the moving version of the song on Balloon Man Ballamy’s first big breakthrough in the late-1980s. Texts of the songs draw on disparate sources including Robert Burns, A. E .Housman and Shakespeare, and highlights include the lovely ‘Who Wants the Evening Rose’ where the honesty of Tabor’s voice momentarily recalling the late Kirsty MacColl, is truest. Ballamy here, oak-sturdy as the genus the band itself takes its name from, intertwines his improvisations with Warren’s superbly empathetic accompaniment so appropriately.
June Tabor pictured
Speake low: Jeff Williams (above, left), Martin Speake, and Mike Outram
Saxophonist Martin Speake’s new recording, a double album called Always a First Time was released a decade after Change of Heart was recorded, Speake’s last big statement until now eventually emerging on ECM. It’s very stop and start with Speake, one of the 1980s Britjazz generation’s biggest talents but whose contribution is most difficult to gauge. Change of Heart recorded with the late Paul Motian, Mick Hutton, and Bobo Stenson, was praised at the time for its Lee Konitz-type clarity and “unhurried” playing. And Always a First Time, this new double album released on Speake’s own label retains that palpable sense of patience, beginning at an almost stately pace.
The Konitz connection is retained, not just in Speake’s sound but in the presence of former Konitz drummer Jeff Williams returning from the quartet. Speake also dedicates ‘Ramshackle’ to Konitz.
At the Vortex gig the Finchley-based saxophonist appears with Williams and guitarist Mike Outram. On Always A First Time Williams appears in an up-front role throughout the 20 songs just like the other two musicians, with Outram also performing a crucial function, colouring the sound especially on the Puccini aria ‘O Mio Babbino Caro’ (dedicated to Speake’s father, appropriately). Oddly you don’t miss the bass, but Outram’s skill has a lot to do with this as well as Williams’ ability to make the drums sing.
The trio covers a great deal of ground only partially explained by the extra canvas the two CDs provide. With songs dedicated to friends, mentors and inspirations Always a First Time is predominantly ballad-driven, but it’s not particularly brooding. More philosophical, and on tracks such as ‘Twister’, on the second CD, there is also a sense of abandon that a quick first listen might not straight away fix on to but is definitely there. Recorded in the same room, unseparated, without headphones, the way records used to be made Speake says “we all played from the heart”. And you can tell this when a song like ‘Meditation’, which crops up on both discs with two different dedicatees one of whom includes Fidel Castro, dissolves (on the second disc) into a ‘listening silence’, when you just know the players like what they’re hearing and do not need to push the tune on any more than is strictly necessary in case the mood is spoiled. The second of the CDs may well have the edge, as it’s a bit more open, and perhaps the club gig will draw on this aspect of Speake’s approach. But the more orthodox ballad-and- cool school bop approach on the first disc, with songs that include Rodgers and Hart’s ‘Bewitched, Bothered and Bewildered’ and many fine Speake originals, have an integrity that is a hallmark of Always a First Time as is its sense of the bigger picture. SG
Beatles, Bach, and balmy strings on Redman’s latest
Sooner or later, and this is only when a jazz artist becomes successful, he or she can put out records and give concerts in massive halls that are of a satisfyingly high standard sufficient to retain their fans and attract new ones, but somehow don’t rattle any cages. They don’t need to, and it’s not like the artist is coasting. It’s just an “at ease with yourself” kind of feeling. Joshua Redman, even when he wasn’t at peace with himself, always had a calmness and clarity about him, and while not an old fashioned player in the ultra young-fogey sense, wasn’t mad keen to be a trailblazing innovator either. Dewey Redman, his late father, was so much more of an avantgardist in his day, although there are many more similarities than differences than you might think. The first big talking point on Walking Shadows is the fact that Brad Mehldau has produced it and plays Boswell to Redman’s Dr Johnson, manicuring every nuance and little touch in this diary of strings-laden discovery. Brad puts his stamp on the record by suggesting ensemble arrangements and pointing Joshua in the direction of Lennon and McCartney. ‘Let it Be’ is as quietly moving as ‘Tears in Heaven’ on Wish, with Mehldau perfect and Redman so very cool on what could have been a cheesefest.
During the European tour of Highway Rider I thought Redman had found a new space for himself both as a performer and in the way he listened to the Britten Sinfonia before he joined in to solo at their London concert in the Barbican. This new record is a slightly snoozy but very upmarket ballads (and Bach) affair, and even with the newer material to bear in mind Redman shows his jazz pedigree best by a very nuanced take on a classic ballad in ‘Lush Life’, a memorable interpretation. It’s not angsty or a memorial but just languorous and that’s Redman’s style. He’s like a good friend having a heart-to-heart throwing in a few jokes to lighten the mood over a few beers. The band is a mix of Brad’s with the ever reliable bassist Larry Grenadier and Brad joined by the distinguished Wayne Shorter Quartet drummer Brian Blade, while both Joshua and Brad provide arrangements as does Patrick Zimmerli whose music Mehldau toured in the UK earlier this year alternating with Mehliana. I think Redman’s James Farm in 2011 was a more adventurous record (and fans took its quality for granted), but Redman has been less daring with these ballads and not just because they’re ballads. But that said it’s a likeable record that has a mellow mood all of its own and at its best is like a conversation you don’t want to end. Stephen Graham
Walking Shadows is released on 7 May
Joshua Redman above
Lineage (clockwise from top left): Byron Wallen, Tony Kofi, Trevor Watkis, Rod Youngs, and Larry Bartley
It’s looking like Lineage are to make their Ronnie Scott’s debut on 12 June, now confirmed (4.30pm update) on the club’s site following the news broken by the quintet’s Tony Kofi today.
This is great for the music following on from the supergoup’s London debut in Hideaway earlier in the year.
That gig was only their second gig ever after an earlier try-out in Brighton. With a front line of trumpeter Byron Wallen, and saxophonist Tony Kofi concentrating on alto saxophone and soprano sax, the quintet features a rhythm section of fine Mulgrew Miller-influenced pianist Trevor Watkis, bassist Larry Bartley, and UK-based American drummer Rod Youngs, like Bartley and Kofi, a member of the great Abdullah Ibrahim’s band Ekaya.
The Collins Dictionary defines the word ‘Lineage’ as meaning in one primary sense “direct descent from an ancestor, especially a line of descendants from one ancestor”, and both as a diaspora band united in shared musical and cultural approaches, and as stylistic descendants of some of the giants of jazz from the hard bop years and their modern day counterparts, the band succeeds on both fronts as it does on its own terms as top class players.
It’s also a meeting of old musical friends, as for instance Kofi and Wallen go way back to the heyday of 1990s hard bop band Nu Troop, and you can tell when two instrumentalists have a close understanding as they know each other’s moves and can read each other’s direction beyond the letter of the closely arranged often intricate material as here.
Kofi said that night at Hideaway he couldn’t think of anyone better to play the trumpet part on his ballad ‘A Song For Papa Jack’, which appeared on Kofi’s acclaimed 2006 album Future Passed, the song dedicated to Tony’s father who died 15 years ago, and Wallen played it beautifully.
Wallen, also a member of Mulatu Astatke’s fine band about to release a new record for Jazz Village, made the astute comment: “Music is about relationships,” and that’s something audiences and musicians neglect to remember sometimes, but this band doesn’t in the broader sense even for one moment.
Bookended by Woody Shaw tunes at Hideaway, opening with ‘Sweet Love of Mine’ and culminating at the end of the first set in Shaw’s classic mover, ‘Moontrane’ (Byron explained the title by saying amusingly: “Woody Shaw had a dream of Coltrane riding a bicycle on the moon”). Other set highlights that night were Tony Williams’ ‘Citadel’, heard on the much missed drummer’s 1980s Blue Note quintet album Civilization, here featuring Trevor Watkis on fine form as he was throughout, especially later on his own tune ‘With Substance’, which featured Larry Bartley and the deep throb of his bass was captured accurately by the club sound system, while Youngs’ cymbals were crisp and clear in the body of the big room.
This band just has to be heard. And it will be in June at the heart of the matter and the heat of the action on Frith Street.
Tickets from www.ronniescotts.co.uk
Tracks and release date confirmed
It’s an achievement in itself to perform at the Montreux jazz festival, the Swiss summertime festival founded by the late Claude Nobs, one of the few festivals to stand tall with Newport in jazz mythology where the whole notion of a jazz festival was born in the first place.
Now the Neil Cowley Trio have gone one step further with the release of Live at Montreux 2012 confirmed for a 29 April release by Eagle.
The Cowley band played the festival for the first time on 11 July last year and the release comes hard on the heels of the trio winning the accolade of UK jazz artist of the year at the prestigious Jazz FM awards in January following a public vote.
London-born pianist Cowley, 40, with Australian bassist Rex Horan and New Zealander Evan Jenkins on drums take jazz to a new generation within a classic jazz piano trio format, their music laced with influences including EST, indie rock, and electronic dance music. Cowley is also known for his work with Adele appearing on 19 and 21 and features crucially on monster hit ‘Rolling in the Deep’, the pianist’s ability to build hypnotic drama in his backing to the vocal part of the song’s wide appeal.
2012 besides recording in Montreux saw the band’s biggest UK concert to date with a Barbican hall gig accompanied by strings during the London Jazz Festival.
Live in Montreux as well as appearing as a DVD is also released as a CD, and on Blu-Ray. Tracks are: ‘Lament’, Rooster Was a Witness’, ‘Distance By Clockwork’, ‘Slims’, ‘Hug The Greyhound’, ‘Kenny Two Steps’, ‘Box Lily’, ‘How Do We Catch Up’, ‘Hope Machine’, ‘Meyer’, ‘Skies Are Rare’, ‘La Porte’, ‘Fable’, ‘The Face of Mount Molehill’, and ‘She Eats Flies.’
The Cowley trio (originally featuring Richard Sadler on bass) debuted with Displaced in 2006, from which ‘She Eats Flies’ ‘How Do We Catch Up’ and ‘Kenny Two Steps’ are taken. The album won a BBC jazz award the following year and went into the studio to record Loud…Louder….Stop, which then appeared in 2008 although no tracks from this album are featured on the DVD. ‘Hug The Greyhound’ from the follow-up Radio Silence is, though, included, as is ‘Box Lily’ released in 2010, the last to feature Sadler, with the rest of the material drawn from The Face of Mount Molehill, an album that saw rocker Horan join and the band augmented with strings and electronic textures. This new release should further enhance the trio’s reputation internationally with American touring having already begun in earnest last year.
The Neil Cowley trio top and the cover of the DVD above
Hülsmann soars on the beautiful Mehldau-esque introduction to ‘Sealion’
A baker’s dozen of tracks, the majority of compositions written by Julia Hülsmann, and her husband Marc Muellbauer, In Full View (ECM), the pianist/composer’s latest album released next week is a quartet affair, the difference this time is that Hülsmann is joined by trumpeter/flugel player Tom Arthurs whose superb but much delayed album Postcards from Pushkin with Richard Fairhurst was released last year.
In Full View has multiple points of entry, and one of the main talking points comes at the end with a nuanced take on ‘Nana’ by Manuel de Falla, the twentieth century Spanish composer’s lovely melody based on an Andalucian lullaby.
Hülsmann also demonstrates just what she can do without artifice as an interpretative artist on the beautiful Mehldau-esque introduction to ‘Sealion’, the song also known as ‘See Line Woman’ made famous by Nina Simone and covered more recently by Canadian indie folk singer/songwriter Feist.
Arthurs’ ‘Forgotten Poetry’ is another firm highlight of an album on early listens that as a quartet extends the ambition of Hülsmann’s writing that bit further, and shows the acute sensitivity of Arthurs on melancholic ballads and mood pieces.
In Full View was recorded over three days in June 2012 by the Bonn-born Hülsmann, a former pupil of the late Walter Norris who famously appeared on Ornette Coleman’s revolutionary debut Something Else!!!!.
The Hülsmann trio was founded in 1997, has changed personnel a little over the years, and now with the addition of Arthurs, who first burst on to the scene just under a decade ago with the remarkable Centripede, moves to an adventurous if more settled-sounding fresh phase, its essence intact.
As well as collaborating with singer Rebekka Bakken for ACT, with Scattering Poems, Hülsmann has also released The End of a Summer, a trio record for ECM featuring half a dozen of her own tunes, along with co-operatively written band material, and a version of Seal’s ‘Kiss From A Rose’. Summer was followed by Imprint, but In Full View reflects some of her very best work to date, heard in a clear new light with Arthurs. SG
Released on Monday 15 April. Julia Hülsmann, above
Time still does the talking for Patty Griffin
“Time goin’ do the talking/ Years’ll do the walking,” soul great Bettye LaVette sang on her return to form last year and rising to the theme later in the song almost hollered “…change the locks on the door/ Learn how to take a little bit more/ I can outrun all the devils here/ But I just can’t outrun doubt."
LaVette might have taken a few liberties with the song but she did everyone a favour by covering it in the first place. It’s ‘Time Will Do The Talking’ the lead-off track from Living with Ghosts from Patty Griffin’s 1996 debut, an album that may well be long in the past but, although it may be a truism, great songs refuse to age.
Griffin is just announced to gig in the UK on the back of a new album American Kid to be released in May with a Union Chapel date in July. The new album was written to honour her father and is her first album of new material in six years. Of late Griffin has appeared as a guest with Robert Plant’s Band of Joy and toured solo dates of her own in the States last year according to Rolling Stone. A Top 40 Billboard album artist her songs have been covered by a wide range of artists across genres from the Dixie Chicks to Detroit soul great LaVette.
Listen to Bettye’s take on the song ‘Time Will Do The Talking’ http://www.youtube.com/watch?v=PVdeU0w5zs8
‘Ohio’ from American Kid you can listen to here: https://soundcloud.com/newwestrecords/patty-griffin-ohio
Patty Griffin above
Damon Albarn with Michael Horovitz
Released for the fast approaching Record Store Day on Saturday 20 April the vinyl-only Kings Cross jazz label Gearbox is to release a single featuring poet Michael Horovitz called ‘Ballade Of The Nocturnal Commune / Extra Time Meltdown’ when the poet is joined by Damon Albarn, Graham Coxon and Paul Weller.
The Blur pair and the Modfather also appear with the distinguished anti-war poet on the new heavy vinyl album Bankbusted Nuclear Detergent Blues, the title track of which was commissioned by Paul Weller and the text of which appeared within the artwork of Weller’s album Sonik Kicks.
These releases are to coincide with the first ever release of archive recording Blues For The Hitchiking Dead (Jazz Poetry SuperJam #1) on two pieces of heavy 12-inch vinyl within a box set that recalls the important anti-nuclear era of the 1960s. ‘Hitchhiking Dead’ features the Live New Departures Jazz Poetry Septet in a March 1962 recording, with Horovitz and poet/songwriter Pete Brown playing the student union of Southampton university along with Stan Tracey, Jeff Clyne, Laurie Morgan, John Mumford and Bobby Wellins. In pre-release publicity material Pete Brown is quoted as saying: “Listening to the Blues again, the first thing that hits me is the fear. This was the most dangerous known period in history for a potential nuclear war, and we really felt it…. This may be a piece of history, an antique even, but it still has a lot to say. And we are by no means out of trouble yet.” MB
Damon Albarn and Michael Horovitz above (photo: Damon Albarn unofficial).
In the States as Jazz Times has reported these records are being released for Record Store Day in limited runs: Miles Davis Round About Midnight (Legacy 12" LP); Miles Davis Milestones (Legacy 12" LP); Miles Davis Someday My Prince Will Come (Legacy 12" LP); Fela Kuti Sorrow Tears and Blood/Perambulator (Knitting Factory); The Cal Tjader Trio The Cal Tjader Trio (Fantasy 3-9/Concord 10" orange vinyl); The Dave Brubeck Trio Distinctive Rhythm Instrumentals (Fantasy 3-2/Concord 10" red vinyl), and Marco Benevento Invisible Baby (The Royal Potato 12" blue vinyl). More at www.jazztimes.com
Chet Baker: gone too soon
Released in May to coincide with the 25th anniversary of the death of Chet Baker, Too Cool: The Life and Music of Chet Baker, as this 12-song set is ambitiously titled, is a new album that combines trumpet and vocals on material written by Chet Baker, with other songs by Sue Richardson and one a fan-girl anthem called ‘Adored’ the Sussex-based Richardson has co-written with Annette Keen. The trumpeter, who has worked with Mina Agossi and Ian Shaw in recent years and whose brassy trumpet style is forthright and bold, is joined by a modern mainstream band with Karen Sharp on baritone saxophone making her presence felt on Richardson’s tune ‘All Through
It’s pretty laid back stuff, as you can imagine, and fairly undemanding at times although very well meant. Richardson’s singing on ‘My Funny Valentine’ and on the bittersweet ‘Chetty’s Lullaby’ are the pick of the vocals. Sue’s husband Neal, who also produced the record, accompanies effectively on piano and Rhodes while Jazz Jamaica’s Rod Youngs on drums drives the band along, with George Trebar’s double bass a lively presence. There’s guest guitar from Andy Drudy as well as the presence of Karen Sharp referred to above. The album could do, it’s fair to say, with a bit more of the dark side of Chet on display, but maybe that would be pushing everyone’s luck that bit too far. Chet certainly pushed his, as most great artists inevitably do. Their tragedy, but our guilty reward in the music and artistry they leave behind.
Sue Richardson plays a special lunchtime show in Ronnie Scott’s on 19 May, a club Chet himself performed in. Watch this extraordinary video of Chet Baker at Ronnie Scott’s in 1986 with footage filmed just two years before the trumpeter’s untimely passing in Amsterdam http://www.youtube.com/watch?v=E6IiFpOVBjU
Andy Kershaw once likened modern jazz to a “fire in a pet shop", well he would, wouldn’t he?, but in a suitable spirit of mischief, prog jazzers World Service Project take that fire on the road, presumably carrying it like the Olympic torch with protective gloves accompanied by a bus riding alongside blaring out inappropriate music, possibly by Heather Small.
They’re off to Hull and back beginning on Humberside at the Pave Bar on Sunday (14 April) followed by dates in Lancashire, Manchester, Leeds, Nottingham, da da da, and ending up, at least for this month, in Bristol on the 28th.
They’re “the Led Bib you can dance to", as Moochin’ About’s Selwyn Harris so memorably put it. He’s got a point, with WSP apparently harbouring a deep seated grudge against Rick Wakeman into the bargain I’d add. The band hunkers around the band’s visionary Dave Morecroft at the keyboards in oddly asymmetric and suitably anonymous fashion but that’s part of the plan: it’s all about the band even with all those tricky time signatures and real ale-powered crypto-funk handbrake turns as the band gets into one.
Digging in live in Dalston last summer
There’s a new album out to coincide with the tour featuring the title track, which has already appeared on a collectable EP called Live From London. I’m not sure of the other tracks so far but ‘De-Frienders’, a highlight of last year’s Match & Fuse festival in Dalston, might make the cut as well (looks like ‘Barmy Army might be on it going by their Soundcloud page). If they don’t it’s a case of tracking down WSP’s back catalogue to a local pet shop that may even these days double as a pop-up vinyl emporium and probably offers a bespoke key-cutting service as well. There are worse things than a burn-up on the high street, the band seem to saying, as an artfully de-(be)friended Kershaw might realise if he heard this lot. SG