Jazz blog: notes, tips, recommendations
Best rated albums on Marlbank since the beginning of the year
10 Joe Lovano UsFive (date of review 21 February 2013)
Blue Note ****
9 Jah Wobble/Bill Sharpe (17 February 2013)
Kingdom of Fitzrovia
8 Terri Lyne Carrington (6 January)
Money Jungle: Provocative in Blue
Concord **** equivalent
7 Charles Lloyd/Jason Moran (10 February)
6 Liane Carroll
Quiet Money Recordings **** RECOMMENDED (7 February)
5 Rudresh Mahanthappa (7 January)
ACT **** RECOMMENDED
4 Tomasz Stańko New York Quartet (30 January)
ECM **** RECOMMENDED
3 Soweto Kinch (12 January)
The Legend of Mike Smith
Soweto Kinch Productions **** NEW SEASON HIGHLIGHT RECOMMENDED
2 Kenny Wheeler, Norma Winstone, London Vocal Project (27 January)
Edition **** RECOMMENDED NEW SEASON HIGHLIGHT
1 Chris Potter
The Sirens (15 January)
Chris Potter top, Terri Lyne Carrington middle, and the cover of Wisława above
There’s a growing collegiate atmosphere in UK jazz. That sounds odd, as ‘collegiate’ is a term you don’t hear as much here as in US academic circles. It’s unheard of at jazz gigs. Why I say that is the use of the word “fellows” and “fellowships”, in the wake of the announcement last night of the recipients of the first Jazzlines Fellowships in Birmingham. It’s a trend that’s been around for a while and musical instrument company Yamaha got there a while back with their jazz “scholars” scheme. One of the new fellows Lluis Mather was a scholar himself three years ago. The image of musicians, possibly monks, toiling over illuminated manuscripts springs absurdly to mind. There’s even a pun there somewhere.
The Birmingham fellowships offer mentoring, advice and masterclasses, a bit like Take Five that the promoter Serious runs and has extended to a wider European roll-out. But the Birmingham scheme is different, angled at the creation of new work and then the touring of it directly, with no residential element as far as I can make out involved, unlike Take Five’s annual sojourns in Kent. The Jerwood Charitable Foundation’s involvement means the scheme connects with the foundation’s work in other sectors of the arts.
The three musicians selected are part of the Birmingham and increasingly national scene having graduated from the Conservatoire jazz course, and in trumpeter Percy Pursglove’s case have had an active involvement in running the Harmonic festival, one of the most imaginative new festivals to begin in recent years. Dan Nicholls reminds me in his setting up of magazine Green Chimneys and gigging with his band Strobes of the enterprise demonstrated by someone like World Service Project’s Dave Morecroft, and I wouldn’t be surprised at all if he isn’t on the talent-spotting Whittingham prize radar already for later in the year as WSP were.
Maybe the Jazzlines fellows will also be in the vanguard of the new jazz in the future. Tony Dudley-Evans of Jazzlines has a good track record working with Jerwood in the past at the Cheltenham Jazz Festival, and if the new music produced is of the calibre achieved in a festival commission such as the one that resulted in the formation of the band Food then it will prove to be of wider European let alone national significance. So collegiality might be as jazz a word in 2013 as ‘Congeniality’ even if the mortar boards might have to be ditched.
Dan Nicholls (above left), Lluis Mather, and Percy Pursglove.
Photo: John Watson/jazzcamera.co.uk
Ornette Coleman’s ‘Congeniality’ from The Shape of Jazz to Come: http://www.youtube.com/watch?v=fNOzv2KuAAo
The Manchester scene is a pretty loose term. Take Adam Fairhall who is very much part of it even if he lives 40 miles from the city: he even hails from much further afield, Cornwall. Jazz is not defined by location any longer as Stuart Nicholson first pointed out in his influential book Is Jazz Dead (Or Has It Moved To A New Address?) and dawned on everyone else despite protests from those with strong home town allegiances. Fairhall could have been part of the Leeds scene as he studied there but Leeds in jazz is different (it’s more punk jazz, no wave, and death-metal referencing) and I’m not making a glib comparison I hope. Leeds spawned Matthew Bourne, trioVD, Roller Trio, and now the intriguing Shatner’s Bassoon. Manchester has Stuart McCallum, Beats & Pieces at the cutting edge 12 Points new band Euro jazz fest in Dublin last week… and Adam Fairhall. Somehow he doesn’t fit in, composers of his distinctiveness and ideas rarely do. Think Django Bates: he’s not part of any place scene is he? Although you can note a geographical location for shorthand he’s usually referred to in terms of Loose Tubes or “his generation", but when you hear Django’s music influencing Norwegian musicians (as on Marius Neset’s new record Birds) or in Brooklyn feeding into Tim Berne’s ideas, you’ll realise that if people could live on the moon they’d probably play Earthling music and so calling it “Moon music” would be a bit ridiculous.
Fairhall plays a range of styles and he can do stride, say, or the rarely heard ragtime styles, but he’s attuned to mavericks in terms of piano, the uncategorisable talents of someone like the much missed Don Pullen. Still in his mid-thirties, a music boffin and academic who has a Phd (not that a doctorate cuts any swath at all on the bandstand), he plays his own music although he crops up as a sideman, and you might come across Fairhall in a Manchester scene place such as Band on the Wall. His records include Imaginary Delta, actually recorded at the Swan Street club, stemming from an original commission by the Manchester Jazz Festival. It’s a suite “celebrating American vernacular forms, early jazz, blues, rags and stomps, featuring unusual instruments”. A high powered gigging septet time travels back and forth with Fairhall, he’s written the music for players such as Golden Age of Steam’s reeds titan James Allsopp, and improv kingpin Paul Rogers who are in the band with him. The Manchester Evening News has written of Fairhall: “There is no jazz code he hasn’t deciphered and mastered.” Do a Bletchley, and hear him in Camden tonight playing music from The Imaginary Delta. SG
Adam Fairhall above
Watch an interview with Fairhall: https://www.youtube.com/watch?v=sk5JsS35-PY
Next month sees the return to the UK after her ReVoice debut in the autumn of singer Becca Stevens and her band. Known for her work with jazz luminaries who include Eric Harland and Brad Mehldau, the latter who happens to be in Birmingham tonight playing at Town Hall, Stevens, as well as singing in an improvising inclined Björk tribute band, is as attuned to Irish traditional folk music as she is to the latest improvising styles and progressive approaches. But inspirations as unexpected as Paula Abdul jostle in her list of influences as much as Joni Mitchell or even Michael Jackson. Brought up in North Carolina, where she began singing in a band called the Tune Mammals with her mum and dad, Stevens appeared last on these shores in Soho with her band featuring the accordion and keyboards of Liam Robinson; double bass and vocals of Chris Tordini who she knows from New School days; and the drums of Jordan Perlson, while Stevens herself plays guitar and ukulele in addition to singing. Her record Weightless came out in 2011 to favourable notices. Dates are Pizza Express Jazz Club, London (4 March); and Band on the Wall, Manchester (5 March). SG
The Becca Stevens band above