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With a UK release now confirmed for May although it’s released in the States this week Kendrick Scott and his band Oracle’s album Conviction, the drummer’s 11-track debut for Concord, follows on from the huge promise shown by The Source, Scott’s debut as a leader, released six years ago. But just in the autumn at Ronnie Scott’s club in London Scott, no stranger to homegrown audiences, was on storming form as the band shot into Eddie Cleanhead Vinson’s ‘Four’ with some fleetness of foot just days after President Obama was re-elected, the choice of tune title appropriate. Scott was Blakey-fast and driving hard, alongside young bass sensation Joshua “Smiler” Crumbly who himself was moving like a young Jimmy Blanton to his side. “Stoked” as he had put it before the gig and clearly up for it Scott displayed great mallet touch as the set developed, and he found the sweet part of the cymbal time and again.

Tracks on Conviction are Broadcast’s ‘Pendulum’; Sufjan Stevens’ ‘Too Much’ with a vocal by Alan Hampton who Glasper fans would have witnessed live guesting at the iTunes fest last year; Herbie Hancock’s ‘I Have a Dream’; solo bass track ‘We Shall By Any Means’; ‘Liberty or Death’; ‘Cycling Through Reality’; ‘Conviction’; ‘Apollo’; ‘Serenity’; ‘Be Water’ with a unusal monologue by that well known jazzer, martial arts master Bruce Lee; and solo piano piece ‘Memory of Enchantment’.

Scott, best known for his work in Terence Blanchard’s band, is joined in Oracle by a mostly new line-up with saxophonist and bass clarinettist John Ellis, guitarist Mike Moreno (the only band member here featured on The Source), hotshot pianist the still developing Taylor Eigsti, and bassist Joe Sanders, with Alan Hampton on two tracks in all. Co-produced by The Experiment’s Derrick Hodge, expected himself to debut for Blue Note records later this year, Hodge also wrote the title track ‘Conviction’. Scott, who’s 32 and comes from Houston where he attended the famed High School for the Performing and Visual Arts where both Robert Glasper and Jason Moran studied, and later Berklee in Boston, the drummer appeared on Terence Blanchard’s albums A Tale of God’s Will, and Flow, on which Scott’s tune ‘The Source’ features Herbie Hancock, who picked up a Grammy nomination for his solo. The song then gave its name to Scott’s own first album as a leader. New York-based for approaching a decade Scott besides Blanchard has also toured heavily with Herbie, John Scofield, and Wayne Shorter, as well as Pat Metheny and Christian McBride. Look out for an early review of Conviction in these pages soon. MB

Kendrick Scott above

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Band on the Wall has confirmed on its website that Rokia Traoré is to play the Manchester club on 20 May hot on the heels of the release of the Malian singer/songwriter/guitarist’s latest album Beautiful Africa. It’s a coup for the Swan Street club as Traoré’s appearance in the city marks a return to heartland jazz clubs in the UK by the musician who has in the last year galvanised support among artists since Islamic militants threatened artistic and cultural freedoms in her home country following a bloody uprising. Beautiful Africa released in April features drummer Seb Rochford, in action at the weekend with the touring Ellington in Anticipation band in Belfast, in a session recorded in Bristol by PJ Harvey producer John Parish. Traoré sings in French, Bambara and English and plays guitar on an album comprising nine songs with the singer also joined by Mamah Diabaté on ngoni; Fatim Kouyaté and Bintou Soumbounou, backing vocals; Nicolaï Munch Hansen, bass; producer John Parish, on additional guitar; Stefano Pilia, guitar; and Jason Singh, human beatbox. Beautiful Africa is Traoré’s first album since Tchamantché in 2009. MB 
www.bandonthewall.org

Rokia Traoré, above

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Neil Cowley: artist in residence at the UK city of culture

The Neil Cowley trio appearing at the Nerve Centre, drummer David Lyttle’s trio featuring ex-Sting keyboardist Jason Rebello, and Irish jazz guitar legend Louis Stewart have been announced as part of the extensive line-up of this year’s Derry jazz and big band festival.

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David Lyttle: driving the new Irish jazz scene

The Cowley Trio, who just ahead of the festival on Monday 29 April are to release a live album recorded at the Montreux Jazz Festival following the popular success of The Face of Mount Molehill, will also during a run of Irish dates play an earlier club date at the Black Box in Belfast with a village festival in west Cork also on their itinerary in May.

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Jason Rebello: ex-Sting keyboardist
performing with David Lyttle in Derry

But Derry is the big one, with Cowley artist-in-residence at the city celebrating its prestigious UK city of culture status this year. In this very special year for culture in the north west of Ireland the festival will also host a radio broadcast to be recorded by BBC Radio 3’s Jazz Line-Up show presented by pianist Julian Joseph, with a concert to take place at the Tower Hotel in Derry on Monday 6 May. Artists to take part in the broadcast are to include saxophonist Trish Clowes with a band featuring Troyka guitarist Chris Montague, bassist Calum Gourlay, drummer James Maddren and The Impossible Gentlemen’s Gwilym Simcock on piano. Local Radio Ulster presenter trumpeter Linley Hamilton’s Saxtet will also appear on the broadcast.

Other names for Derry this year include The Dark Energy trio (The Playhouse, 2 May), that’s bassist Alan Niblock with Mujician saxophonist Paul Dunmall and leading improv drummer Mark Sanders; Brass Impact Big Band (Waterside theatre, 3 May); Dana Masters band (City Hotel, 3 May); the Paul McIntyre trio plus Richie Buckley (The Playhouse, 4 May); the Puppini Sisters (The Venue 4 May); and Pink Martini (Millennium Forum, 5 May). MB
2-6 May www.cityofderryjazzfestival.com

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Victor Wooten

West will, you’d have thought, once again be best if the line-up at the just announced Sligo Jazz Festival is anything to go by this year. The town, well known for its love of traditional Irish music, and in recent years a burgeoning reputation as a jazz place thanks to local jazz education initiative the Sligo Jazz Project, hosts the Sligo jazz festival from 16-21 July. This year’s line-up features the Mike Stern/Victor Wooten band with multi-Grammy award winning bass guitarist Victor Wooten of Béla Fleck and the Flecktones renown teaming up with We Want Miles-period ex-Miles jazz-rock force-of-nature guitarist Mike Stern in their co-led quartet completed by saxophonist Bob Franceschini and drummer Derico Watson.

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The Olllam

A big feature of the Sligo programme this year is the pairing of the Janek Gwizdala Trio, with fusion hotshot Gwizdala joined by guitarist Mike Nielsen and Human drummer Steve Davis, in a double bill with exciting new Celtic-alt.rock fusion trio The Olllam, featuring the great Belfast uilleann piper John McSherry (Lúnasa), the Detroit-born guitarist/keyboardist/piper Tyler Duncan, and drummer Michael Shimmin. Also for Sligo: pianist Kenny Werner with his trio; and an appearance by the Dublin City Jazz Orchestra plus guests Ian Shaw, Marshall Gilkes, and Jean Toussaint. MB
www.sligojazz.ie 

Victor Wooten top and The Olllam above

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Damon Albarn with Michael Horovitz

The vinyl-only Kings Cross jazz label Gearbox is to release a single featuring poet Michael Horovitz’s ‘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: courtesy Damon Albarn unofficial)

Released for Record Store Day, Saturday 20 April www.recordstoreday.co.uk Support your local record shop

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(Updated at 3.15)
Babel records has just confirmed on its Bandcamp page the release of Being Human, the debut release of Human, Irish-born drummer and composer Stephen Davis’ new quartet. A pre-release gig at the Vortex tomorrow has, though, just been cancelled, the band’s Alex Bonney has said, explaining that the cancellation is “due to weather/travel etc," via Twitter. The inclement weather also affected the band’s Brilliant Corners festival appearance in Belfast yesterday.

Best known for Davis’ decade-long and continuing adventures as part of Bourne/Davis/Kane, the Human sound is coloured by the violin of the maverick Dylan Bates, notable for his work with Billly Jenkins and his tenure in the bizarre Waiting For Dwarfs. Human also features the talismanic presence of pianist Alexander Hawkins, and the electronicist, trumpeter Alex Bonney. There’s no bass on Being Human, confirmed by the east London-based label for a Monday 29 April release.

Tracks are ‘Frozen Goat’, ‘Being Human’, ‘Little Particles’ with Bonney finding an In a Silent Way sense of calm on this number amid the complementary African-sounding piano and drums, with the album completed by ‘I Am Planet’, ‘Cartagena’ and ‘Vinila Life’. Davis doesn’t need to channel anyone on this record, although there are echoes of Tony Oxley at times, and the benign presence of the late John Stevens hovers tantalisingly. Early listens suggest strong evidence of what Bates really can do: think Leroy Jenkins in his pomp with a jagged Beckenham-derived individuality bolted on, while Hawkins is a haunting presence throughout. ‘I Am Planet’ has a rustling unsettled feel to it, with Hawkins’ three-note figure after the three-minute marking the warts-and-all groove that opens up for Davis to then move deep into multi-directional territory. ‘Cartagena’ is very different, a track clued-up DJs might well wish to sample, as the clash of Davis’ snare pumps the band up and would get any club audience going. MB
The cover of Being Human top