A stellar trio who know each other’s moves instinctively: the sound bubbling up from the drums: Ali Jackson you may know from his work at the kit within the Wynton Marsalis and the Jazz at Lincoln Center Orchestra sound; star pianist Aaron Goldberg who habitually thrives in a trio situation; and bassist Omer Avital whose own work as a leader is also worth checking out. The highly accurately exclamatory monikered, for once, Yes! Trio are on the French indie jazz label Jazz&People roster: look for Groove du jour (****)on 11 October. Seriously swinging but not at all indulgent or tired the trio keep it interesting and you feel the narration in the way they handle each tune. The album has deftly conceived and executed compositions by all three elegant players who each contribute pieces plus look drilling down for a version of Jackie McLean’s ‘Dr Jackle’ and a treatment of the Sammy Fain-Irving Kahal standard ‘I’ll Be Seeing You’. While it is not out yet marlbank had a few listens right through: Groove de la semaine — more like. Get acquainted with all these sounds when you can come release time.
Postpone walking the Camino but journey instead to hear Stacey Kent at Ronnie Scott’s this autumn and why not. Many do. Last year mobbed by fans at the end of the Friday first house of the equivalent run who jostled with strollers, Big Issue sellers and jazz fans rocking up for the later house the globe trotting singer Stacey was in her adopted home town for the annual residency and the ultimate girl next door singer was loving it all.
Speaking to her husband Jim Tomlinson before the gig chatting briefly at the bar as he relaxed before heading to the stage he explained to marlbank that the Kent band play about 110 gigs per year all over the world.
Tomlinson, who when the set opened began on concert flute and then during the course of the 90-minute set switched to either his tenor saxophone delivered in his typical Stan Getzian manner or straight soprano, had earlier explained that his lyricist writing partner the 2017 Nobel prize for literature laureate Kazuo Ishiguro who collaborated with him on ‘Bullet Train’ planned to be in the audience later in the run. Maybe he will turn up this year as well, anything is possible.
2017’s ecstatically reviewed orchestral sessions proved the singer can surround herself in more lush settings and while this was a smaller more human and very different situation the set contained some numbers from I Know I Dream, ‘Bullet Train’ standing out. “Why’s it taking so long/For the night to fall?” in the lyric has that wistfulness the writers so easily evoke and which on ‘The Changing Lights’ an earlier song of theirs actually sums up Ishiguro and Tomlinson’s approach as the protagonists “vowed” to guard their dreams. This was not a dark set in terms of mood, more a sunny delight. A simmering ‘Dindi’ was the tender highlight of the night.
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)
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.
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 EmilioModeste, pianist OscarWilliamsII, 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
The Like Water For Chocolate hip-hop great returns with Let Love(Loma Vista *****). A thrill it arrives three years on from Black America Again. Tracks are: 1 Good Morning Love featuring Samora Pinderhughes 2 HER Love feat. Daniel Caesar, Dwele 3 Dwele’s Interlude 4 Hercules feat. Swizz Beatz 5 Fifth Story feat. Leikeli47 6 Forever Your Love feat. BJ The Chicago Kid 7 Leaders (Crib Love) feat. A-Trak 8 Memories Of Home feat. BJ The Chicago Kid, Samora Pinderhughes 9 Show Me That You Love feat. Jill Scott, Samora Pinderhughes 10 My Fancy Free Future Love 11 God Is Love feat. Jonathan McReynolds, Leon Bridges
A very invigorating one this, the Babel label currently on a Loredana roll after a long hiatus following the departure to pastures new of label lieutenant, the affable Ozymandias reciting Paul Lewis.
Paulo Dias Duarte is a Portuguese composer and guitarist on the London scene for over a decade and a half. The orchestra has included an extraordinary array of top talent coming up. A bit of detective work has gone into this review so forgive the deerstalker quality. However, hey look there is the cover above and a word from Paulo.
So how does it begin? Deduce lots of twiddly guitar texture on the Intro and thereafter a veritable “seven part suite” the tracks no kidding Sherlock are numbered one to seven. More to the point each piece relates unlike a lot of albums where tracks live in their own Siberia and never melt even when there is a Gobi desert next door.
The word suite by the way is not mentioned. That is a blessing. For a brief minute the flavour is Beefheart-esque and then we are into electric guitar and a chunky Mingus-like vamp.
Muscular drums, anarchic horns, parping offbeats are all in the capacious larder. There is lots of gritty section work (eg on Part IV) and earlier Part II (coming up from the bass more Mingusiana mixed with that Chris Batchelor-esque flavour harking back to Loose Tubes initial listens conjured up). Flashingly cosmic keyboard part on this track, the arranging overall is extremely good. How you can sound free and yet write that freedom for a decent sized bunch of musicians and let them be themselves is achieved rewards plenty of head scratching.
A major new outfit, we have not had a big band such as this gathering since say the F-IRE Collective in their prime. Part III is like the ballad: certainly at the beginning, Duarte does not do plangent but here it is as close as makes no difference: An afternoon feel like a sort of anarchist holiday, bit of improving reading before the return to the protest and spot of rioting later in the improvisation.
From VII to be released on Ropeadope later this month by Chicago titan Ramsey Lewis and Urban Knights. Groovy, elastic, effortlessly seeming, full of detail, neat Harper Lee literary pun perhaps, in the title of the track and crucially not too smooth... Lewis of course world renowned for The In Crowd recorded in the Bohemian Caverns 54 years ago. Very tasteful press roll themed drum solo from Charles Heath beginning at the 4 minute mark worth clocking and Heath is the hearth of the matter burning from the beginning. Essential. Lewis’ main theme, that thing he does at 1min and 21secs is a marvel – the surprise and gleam of instant sunshine and then a full on blissed out pitch bent like a rubber band synth solo from Tim (Daddy O) Gant to wig out to.
Worth £5,000 to the winner and a further £5,000 split between 3 more successful participants details about the long running Peter Whittingham award this year are now available. According to the official word from Help Musicians the “Jazz musicians, either solo or in groups of up to eight, who are at a tipping point in their career, are invited to apply via the website here by Monday October 14.” Auditions will be held in November.
WorldService Projectbass guitarist Arthur O’Hara with tenorist Chelsea Carmichael and WSP drummer Harry Pope are appearing at the Lancaster jazz festivalthis month. Dates are 11-15 September. Camilla George, Led Bib, Vula Viel also are worth turning up to if in the area and about a bit. Do you have to let it linger? That is a yes by the way if at all feasible.
Dates are Sounds From a Safe Harbour, Cork 14 September and Purcell Room,27 September, London. From The Gloaming Caoimhín Ó Raghallaigh and Thomas Bartlett’s self-titled album is released on the eve of the Cork gig.
Must be the clouds in my eyes: Blowing in from Stockholm and after compilation So Far dropped earlier in the year not a lot to go on about what is next from the Daniel Karlsson trio but first of all the label behind the 11 October release of Fuse Number Eleven will once again be Brus & Knaster. They have already put out the splendidly titled game changer of a live affair At The Feel Free Falafel which already has reached cult status among the less insane scene watchers in the coterie of global piano jazz trio worshippers out there – and understandably so.
As for the Coventry gig mentioned above it will be at Earlsdon Street spot the Albany Club on 7 November. Details. Their brief English and Scottish three-date tour will also take in Oswestry and Glasgow (appearing at the Blue Arrow).
Coventry of course is a brilliant if tough town for music and yet suffers so much through history. Marlbank misses the Coventry jazz festival which used to take place in venues such as the Belgrade theatre there and where once we managed to hear Randy Brecker (and have not repeated that feat unfortunately given Randy’s lack of heavy touring here since). The Specials came from the midlands city and immortalised what locals lovingly refer to as Cov during Thatcher’s ruinous years when she took a wrecking ball to industrial Britain and in ‘Ghost Town’ inspired the downtrodden and dispossessed everywhere.
The lead track of the new Daniel Karlsson trio album is ‘Fuse Number Eleven’. Recall the trio from last year, cast your mind back regular readers. Briefly marlbank dropped in to Soho spot the basement situated Spice kindly admitted by the venue’s in house conjurer Jackie Docherty and club guiding light occasional singer Paul Pace. Pianist Daniel Karlsson was with bassist Christian Spering and his faithful long time comrade drummer Fredrik Rundqvist. Monster ostinatos whether eating from the pianist’s left hand or out of the blue from the bass tumbled from the sky. Look for the trio this autumn. You will not regret it.
Legendary jazz singer Elaine Delmar, daughter of Leslie “Jiver” Hutchinson, is a headliner at the Lowestoft jazz festival in Suffolk this month. She appears as featured artist in the quartet of pianist Barry Green, an aggregation that also numbers a second great – the Glaswegian Jim Mullen. Soft Machine are also in the weekend line-up. 12-15 September. Full details.
The Ambiguity Manifesto by the Taylor Ho Bynum 9-tette is to be released by his label Firehouse 12 Records on 20 September. Analysis in brief, electroacoustic textures: Starting point as a reset away from anything that you might be playing listen to a little of Evan Parker’s Toward the Margins say via Shazamsamples switch off and then listen to the example track. You can feel a kindred aesthetic. However Bynum has possibly more affinity to the later more recent avant side of Alex Bonney. Click for a little there in that regard. He I would guess has been influenced by Ho Bynum. Finally this is tonal adventure, a gradation of texture, metre erased in the shavings and shaping of an acoustic canopy.