Victoria Geelan

The Fermanagh Live Arts festival launch events are on 20 September to be headlined by trumpeter Linley Hamilton who will the following month be appearing as a headliner at the Cork jazz festival. Fermanagh Live festival highlights include the Dawn to Dusk poetry celebration, John Kelly reading from Notions + Irish traditional music star Gaby McArdle, jazz singer Victoria Geelan, a chess championship, jazz brunch, and the launch of Notes From Africa by Jenny Cathcart. Victoria Geelan, above, publicity photo. Festival website. Dates are 2-10 October.

Courtney Pine touring coming up includes three nights at the Boisdale Canary Wharf restaurant venue in London from 2-4 October; the sold out Ronnie Scott’s 60th Albert Hall concert on 30 October; and on 31 October an appearance at St George’s, Bristol


The erudite Anthems is to be released at the end of September on the Sunnyside label. Seems a significant release although there is only one track from Caroline Davis and Rob Clearfield’s Persona to go on so far — delivered in for want of a better term, a “New Melodic” style: let’s shrink the wait for more somehow by repeated play and a little contemplation. That heard pedal point framework is a siren to an essence of song. 

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At last: to be released by DeepMatter on 20 September voilà PYJÆN: after a lot of promise on the singles so far. Leaning towards prog jazz-rock (Polar Bear at the jazziest end, Dream Theater the proggiest) on their latest sounds, but with a very individual and fresh attitude. 

The five-piece: Dani Diodato, guitar; Dylan Jones, trumpet; Ben Vize, saxophone; Charlie Hutchinson, drums; Benjamin Crane, bass; arrived first on the marlbank new band radar last year when they were touring. As mentioned back then: They can do hard blowing Brecker-esque tenor, Byron Wallen-like trumpet, wiry guitar, rapport, flow, ladlings of Afrobeat, an energetic pulsing undertow to boot: these guys are not afraid to wear their hearts on their sleeves. A London five-piece formed via friendship and study at the Trinity Laban conservatoire in Greenwich. Vize is a new star in the making. Surely his and their profile will soar given a bit of luck. There is also a lot of stimulating heat rising from the drums. Hutchinson makes me want to listen to a bunch of Greg Bissonette solos. Yep, it cooks.

While they can do all the above the direction is clearly more in a unique prog-jazz space and moves that style on a bit since the last innovations were made by World Service Project. Could PYJÆN be the Colosseum of 2019? Tremble at that crazy prospect.  

Concord are leading the way at the moment with release after quality release from quite a number of big and upcoming names. Long may it continue. The latest to drop online is promo for Mike Stern and Jeff Lorber Fusion with the deliciously incendiary ‘Ha Ha Hotel’ from Eleven, to be issued in late-September. Not at all smooth jazz by the way. There is a funky James Brown-like undertow in the response to the flying jazz-rock soloing here, the tempo completely ramped up.

Blue World cover

Blue World by John Coltrane will be released by Impulse! on 27 September. Featuring Coltrane with Jimmy Garrison, Elvin Jones and McCoy Tyner, recorded in 1964, this has not been issued commercially before by an official label. According to Pitchfork the album was: “Recorded at New Jersey’s Van Gelder Studios, the 37-minute session was made at the request of Canadian filmmaker Gilles Groulx, who had asked Coltrane to soundtrack his film Le chat dans le sac.” 

Press release follows:

An unreleased and never-before-heard 1964 recording by John Coltrane and his Classic Quartet, Blue World, will be released by Impulse!/UMe on 27 September. It features new recordings of earlier works which, in an almost unprecedented move, they reinterpreted for this session, recorded at Van Gelder Studios.

The album will available on CD, vinyl LP and digitally, and is previewed by the release of the title track, which is now available:

The recordings were made in June 1964, in between the sessions for Crescent and A Love Supreme. Coltrane had been approached by a filmmaker in Quebec, Gilles Groux, who was planning to make his film Le chat dans le sac, a love story set in Montreal that had political overtones.

Groulx was a devoted Coltrane aficionado, and via his connection with bassist Jimmy Garrison, he approached the great jazz figurehead with the idea of Coltrane recording the film’s soundtrack. Remarkably, he agreed.

Sp it was that he went into the studio with Garrison, Elvin Jones and McCoy Tyner to revisit and reinterpret some of Coltrane’s earlier works. The session was recorded on quarter-inch analog mono tape and mixed by the great jazz engineer Rudy Van Gelder on 24 June. Groulx, who had been present at the session, took the masters to Canada to use in Le chat dans le sac, but only included ten minutes from the 37-minute recording.

Kevin Reeves at Universal Music Mastering in New York has now mastered Blue World from the original analog tape. The lacquers for the new release were cut at Capitol Studios by Ron McMaster.

Devotees and new admirers will hear both Coltrane’s creative progression and the consistent, interactive sound that had become the signature of the Classic Quartet by 1964. The album is also a window into a fascinating and hugely significant period in Coltrane’s musical evolution, set in between two of his most transcendent recordings. Crescent was released in July, and A Love Supreme the following January.

 

Crepuscule In Nickelsdorf (Intakt Records) by Trance Map+: Evan Parker, Matthew Wright, Adam Linson, John Coxon and Ashley Wales, is a seven part mix of field recordings, samples from cassettes, turntable scratching and live processing of Evan Parker saxophone recordings. Think of the tracks, recorded in Austria on 22 July 2017, if you like as somehow figuratively conjuring a 21st century Turner electroacoustic seascape transmogrified to forest in a void far from home because all sense of reality is upended in the churning turbulence of dreams. Quite brilliant, especially in the practically patented use of upper beyond-ledger line partials by Parker — all sounds are hugely organic in the mix. SG *****

It only begins when you listen to... Robbie Robertson. ‘Let Love Reign’, the terrific latest from Sinematic, has a Chris Rea feel to it.