The Tomorrow’s Warriors #IAmWarrior fundraising drive has been successful.

A whopping £119,743 has been raised. The target was £100,000.

Thanking those who donated, the Tomorrow’s Warriors website features a message explaining:

“We have secured match funding of £100,000 from Arts Council England to pay for the resources needed to continue delivering an exciting, year-round comprehensive learning and training programme for our young musicians, helping us to transform young lives...

“Our students, parents, staff and wonderful supporters can stop and take a deep breath, safe in the knowledge that the immediate threat to our programme has been lifted and we can now put all our energies into securing long-term funding for our Young Artist Development Programme.”

The initiative was launched in the autumn of 2018. 

 

TRACK OF THE WEEK  #NewMusicFriday Tremendously swinging agility from the piano master Chick Corea on Monk’s ‘Work’ drawn from Trilogy 2 (to be released on 4 October) only a few months after Antidote. This is quite different and the continuation of a story begun to be told. Such open interplay throughout. A conversation between protagonists all – delivering crucially individually and collectively in the moment.

Superstar trio, the Pettifordian bass matador Christian McBride and the great Wayne Shorter drummer Brian Blade join Chick: this new Concord issued double album arrives six years on from the initial double Grammy winning Trilogy release.

Live, recorded on tour Corea’s ‘500 Miles High’ from Return to Forever album Light as a Feather is included among the mix of standards and originals that also spans Corea all time classic ‘La Fiesta’. In press material Chick is quoted as saying on his arrangement of Stevie Wonder’s ‘Pastime Paradise’ from Songs in the Key of Life: “I’ve been friends with Stevie since he used to come around to listen to Return to Forever in 1973 at The Bitter End. A few years ago Stevie sat in with us at Catalina’s in Los Angeles and we went out to dinner afterwards. We were talking about songs and I was using the term ‘standards,’ and Stevie turned to me and said, ‘Hey Chick, what do you think about playing some new standards?’ I thought that was interesting and asked, ‘What do you mean?’ And he said, ‘You know – my music!’ He was kind of kidding around, but not completely, and I thought that was a great idea.” Full track listing: Disc 1: How Deep Is the Ocean, 500 Miles High, Crepuscule with Nellie, Work, But Beautiful, La Fiesta.  Disc 2: Eiderdown, All Blues, Pastime Paradise, Now He Sings, Now He Sobs, Serenity, Lotus Blossom.

Back in the summertime release Chick on the superb Antidote revisited songs from his albums My Spanish Heart and Touchstone with a multi-cultural octet, sprinkling in a few new compositions and guest appearances by vocalists Rubén Blades, Chick’s wife Gayle Moran Corea, and Maria Bianca, a reminder once again how important it is to listen and learn from the masters of the music. Trilogy 2 continues that significant, immersive, process. 

Philos came out earlier this year to deserved acclaim. Park Jiha performs her tunes solo by looping and layering abstract lines played on the Korean instruments the piri, which is sort of a bamboo oboe, double reed mouth organ the saenghwang; and on yanggeum – a metal-stringed hammered dulcimer.

She plays Rich Mix during the K Music festival on 17 October.

Parting is beauty’s creation./Parting’s beauty is not in the substanceless gold of morning nor in the woofless black silk of night nor in deathless immortal life,/nor is it in the unfading blue flower of heaven./Love, if it were not for parting I would not be able to live again in a/smile having once died in tears. Oh, parting./Beauty is parting’s creation. (Manhae) 

Find yourself – in E1. Tickets

 

O lapwing thou fliest around the heath

Nor seest the net that is spread beneath

Why dost thou not fly among the corn fields

They cannot spread nets where a harvest yields

 William Blake 

 

archive

We looked up 6 jazz blogs so you don’t have to or think about Boorish Wanton. If you must regarding the latter somehow the soundtrack of classic Sex Pistols Never Mind the Bollocks Here’s the Sex Pistols seems apt as a suggestion. “The record bristles with exhilarating negation – no feelings, no future – and the pull of abjection,” notes Matthew Worley: professor of modern history at the University of Reading. Otherwise the new doom epic from Sunn O))) Pyroclasts will do. Topicality even out of context is all, huh? As for the former at the outset scroll down for a few jazz jottings.  

  

Music and More have reviewed Live at Newport Jazz “a very entertaining concert”... the blog jazz.org is still on holiday but back in August they were rounding up September...  John Fordham says in londonjazznews.com that Vijay “Iyer has revealed himself to be an audacious original... the librarians in Darmstadt have taken a break from stacking shelves and have been blogging too and alert us to a Wiener Zeitung interview with Maceo Parker... Who in the 1950s “swished between jazz and R&B”? Jazzwax has an inkling... Talk about, finally, an ode to a Norwegian strobe, yep Nextbop have the scoop and check out Michael Janisch live. 

If you are looking for a uniquely plaintive quality in trumpet quest no further than ‘Why Should There Be Stars’ the runaway success among all these very tasteful tracks.

Roney has delivered one of his best albums in a long while and yet... sometimes a three-star album which this is nonetheless is more than enough and yet frustrating.

While it is not going to change the world it may just change your day. You can feel the limits: but maybe great artistry (and Roney has shown that for many years) is about knowing what you can do and doing it. The rest is just conversation.

Roney needs a new producer like someone who would argue with him and he would accept the word! 

Anyway Blue Dawn Blue Nights however is very poignant, there is a lot of personal sadness to reflect, and often it is quite moving.

Listen you need to be able to work out that you are coming to Roney for a subtle musical personality whose sound lands at the heart of modal Milesian jazz. After all he quite comfortably fell into the Milesian world at first hand and stood in for Miles towards the end of the Picasso of Cool’s life.

Roney has made approaching a couple of dozen records. Quite a few blur into one and yet you know exactly why you listen to him and go to hear him live. Last time I saw him it was slightly bizarre: who wears sunglasses inside anyway when the stage lights are not even that bright! And yet I for one did not want to go home.

There is a Roney world. His persona invades you. A club player not a big hall player ideally even if most musicians want to play to the biggest audiences imaginable for good career reasons it is not always ideal for most and Roney needs you to be there in a space where people do not get lost in themselves and the architecture. 

Here with an accomplished if necessarily anonymous band, saxophonist Emilio Modeste, pianist Oscar Williams II, bassist Paul Cuffari, and his teenage nephew, certainly a talent drummer Kojo Odu Roney + cameos from guitarist Quintin Zoto and the great Lenny White. Recorded at Rudy Van Gelder’s studio in New Jersey it sounds right from an engineering point of view. Roney soars.  SG