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Stepping out

Jay’s Jitter Jive dance night began at the Hippodrome on Charing Cross Road, just yards from Leicester Square earlier this month with trumpeter Jay Phelps leading his eight-piece band featuring Lauren Dalrymple on vocals, and Perry Louis, of Jazzcotech renown, leading the dance moves. Jay, acting a role as one of two trumpeters in the Louis Lester Band, and also on the hit soundtrack of Adrian Johnston’s music for the Dancing on the Edge band, and whose own debut as a leader Jay Walkin’ was released to good reviews in 2010, did a trial run for Jitter Jive just before the end of 2012 at Kings Place. On his website he says speaking of the night at the prestigious York Way venue: “We had a great time playing the music of the era, and we even included three tunes from the Snakehips Johnson band transcribed by Soweto Kinch.” On recent BBC2 documentary Swinging into the Blitz the death was grippingly recalled of Ken ‘Snakehips’ Johnson, who was among the many to die in the Blitzed-out West End night club Café de Paris, just a few hundred yards from the Hippodrome, on 8 March 1941. Jay performed in the documentary band sequences recreating the Snakehips sound as did Soweto Kinch who has a new record out, The Legend of Mike Smith, released earlier this year, and Jay appears on it in one of the best spots of the whole affair on the ballad ‘Vacuum’, his horn set alongside the elegiac piano of Julian Joseph. SG

Jitter jive takes place on Wed 27 March. More at http://www.hippodromecasino.com

Watch some Cab Calloway jitterbug jive http://www.youtube.com/watch?v=N06KxYyUZkk

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Rokia Traoré
Beautiful Africa
Nonesuch ***1/2
A jazz sensibility connects with a great deal of world music. Many African artists manage to navigate their music away from too many compromises in reaching out to new audiences but inevitably (if you recall Baaba Maal’s Television) the tunes are memorable but made for a limited ‘pop’ shelf life albeit loaded with much more mass appeal potential than most jazz people could ever dream of. Malian singer Traoré’s latest begins in a very poppy way with the appealing ‘Lalla’ but the album stroked home impressively by Seb Rochford, with PJ Harvey producer John Parish on board recording not in Bamako but Bristol, moves beyond simple radio appeal swiftly enough from ‘Kouma’ on. All the songs were written and composed by Traoré, an important cultural role model for a new generation of musicians in Mali including the acclaimed singer/guitarist Fatoumata Diawara who used to be her backing singer. There’s plenty to savour, although ‘Lalla’ is easily the most accessible song even if the song structures are hardly a stretch throughout. Traoré has a gritty forceful side to her voice and there’s a vitality and a certain edge in her delivery that jazz fans best appreciate and, as her fame widens, genre niceties won’t hold back. Released on 8 April 

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Christine Tobin, Guy Barker, and John Etheridge have been nominated for jazz musician of the year at this year’s Parliamentary Jazz Awards sponsored by royalties body PPL and Jazz Services the winners of which will be announced at a ceremony in the Terrace Pavilion of the House of Commons on 8 May.

In the album of the year category, Irish singer Tobin receives another nomination for her acclaimed album Sailing to Byzantium, while Jazz FM award winner Saltash Bells by John Surman and Walking Dark by Phronesis are also nominated.

The jazz ensemble of the year nominations are Beats & Pieces Big Band, Impossible Gentlemen, and Troyka; while the Live Jazz award of the year nominations are Café Oto, Herts Jazz, Manchester Jazz Festival, and the Vortex.

Jazz journalist of the year nominees are: previous winner John Fordham of The Guardian; the Financial Times’ Mike Hobart; and The Herald’s Rob Adams who was nominated last year. Jazz broadcaster of the year nominees are Gilles Peterson, previous winner Helen Mayhew, and Mike Chadwick, often nominated at the awards now in their ninth running, while jazz publication of the year nominations go to Catherine Tackley for Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert; previous winner Jazzwise; and the website London Jazz News.

The jazz education nominees are Brian Moore, Jonathan Eno, Nick Smart, and Tommy Smith; while Services to Jazz nominees are Evan Parker, BBC producer Keith Loxam, Norma Winstone, and Stan Tracey.

The winners are chosen by peers and MPs, the judging members of the All Party Parliamentary Jazz Appreciation Group in Parliament. James Pearson and the Ronnie Scott’s All Stars will perform at the awards in May, making a return appearance.
Double nomination: Christine Tobin, top

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Rotterdam bound: McCoy Tyner

Rotterdam’s North Sea Jazz Festival has announced details of artists to appear at this year’s staging of the long running festival, held over three days as usual in July.

On the opening day, Friday 12 July, Santana, Diana Krall, Medeski, Martin & Wood, Roy Hargrove Quintet, retro diva Caro Emerald, the Monty Alexander Trio, soul singer James Hunter, Mala in Cuba, and Lianne La Havas are all scheduled to appear. Next day Saturday 13 July has John Legend, Kenny Barron and his trio, Chick Corea’s new band the Vigil recently debuting at Ronnie Scott’s, quartertone trumpeter Ibrahim Maalouf, the great jazz singer Dee Dee Bridgewater and Jazz FM gold award-winning pianist Ramsey Lewis.

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The Vigil

The middle day of the festival also sees Dutch favourites New Cool Collective, John Zorn at 60 Marathon, Michel Camilo (newly signed to Okeh records), and flamenco star Tomatito.

While there are no significant surprises, the festival this year has picked up on a high profile mix of legends and newer names in remarkable quantity as ever. It’s possible to survey great swathes of the global jazz scene over just three days spent in Rotterdam checking out the gigs held inside the massive Ahoy venue.

Also for the Saturday shows are Gary Clark Jr, Sangam featuring Charles Lloyd, the great McCoy Tyner and his Latin Jazz All Stars, Laura Mvula, Shuggie Otis, Cody ChesnuTT, Re:Freshed Orchestra, and Bassekou Kouyate/Ngoni ba.

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Dionne Warwick

The final day at North Sea this year features Sting, Kendrick Lamar, Marcus Miller, Joe Jackson and the Bigger Band featuring Regina Carter, Dionne Warwick, Charles Bradley, Bettye LaVette, Branford Marsalis Quartet, Avishai Cohen Quartet, José James, Ebo Taylor, Mud Morganfield, and Calexico. MB

http://www.northseajazz.com  

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The trad era, with the passing of luminaries Kenny Ball, Terry Lightfoot at the weekend, and the writer Jim Godbolt earlier this year probably turned away as many people from jazz as it attracted to it, a paradox unseen in its day as trad reached the largest audiences jazz has ever reached in this country.

With their subsequent outlandishly outmoded stage wear, and the music seemingly reluctant to move beyond banjo-and-braces clichés it’s no wonder that trad became seen as part of a cultural backwater eventually, a garden gnome of a genre.

With the birth of rock ’n’ roll it became a joke, and the music identified with your parents’ generation. Former rock journalist John Harris, writing in The Guardian has put it like this: “I came of age in a culture in which the jazz both categorised and demonised as ‘trad’ would not do at all. I have childhood memories that fit the picture – of impatiently flicking through the three TV channels, and alighting on ensembles of men in candy-striped waistcoats, blowing out a racket that seemed dated, even flatly silly.”

Poet Philip Larkin used trad partly as a criticism of modernism in his jazz critiques, while Melly tells how, rather than taking sides, he found that in the Scala theatre in London’s Charlotte Street he discovered the power of ‘revivalist jazz’, the term used before ‘trad’ supplanted it. “I came out of that concert a changed person,” Melly wrote in Owning Up first published in 1965, when trad was a distant memory. Now the music is still widely played in under-the-radar places, often very stubbornly, to an often baffled, uninterested, and dwindling audience.

Melly discovered the revivalist scene via the Melody Maker and began to sing with Beryl Bryden at the Leicester Square Jazz Club and later Eel Pie Island eventually joining Mick Mulligan’s band, a big hero of Melly’s whose picaresque adventures the singer was so adept at telling so very entertainingly.

Trad for Melly was a state of mind, and it was about fun, not a word that the young maths-jazzers today like to use overly much. The venues then were pretty unrecognisable from today’s jazz places, according to Melly’s description. “Many of those pub rooms were temples of the ‘Ancient Order of Buffaloes’, that mysterious proletarian version of the ‘Freemasons’, and it was under dusty horns and framed nineteenth century characters that we struggled through ‘Sunset Café Stomp’ or ‘Miss Henry’s Ball’."

Melly is astute enough to mention that some traditionalists became modernists or mainstreamers, and some trad musicians “began to realize that Gillespie and Parker, Monk and Davis were not perverse iconoclasts but in the great tradition.”

Yet there developed a schism between the two big styles in jazz of the day, a lack of toleration, that carried a heavy toll. With Larkin ludicrously pitting Miles Davis (bad) on the one hand against Eddie Condon (good) on the other the madness of the rivalry, and the prejudices involved still scream off the page. “As it enters the ear,” Larkin wrote, “does it come in like broken glass or does it come in like honey?”

There are a few figures from the trad era still left and topping festival bills, most notably Acker Bilk who appears at Brecon in the summer, and the constantly touring Chris Barber. Although the years of trad as a popular movement disappeared long ago just as the craze for jungle or grime in recent years has, trad has endured long beyond its natural shelf-life, and will in all likelihood live on past the departure eventually of all of the trad gentlemen of jazz. Will a new generation, even if it wanted to, manage to capture that initial excitement that made trad significant in the first place? Maybe not. Remixing ‘Petite Fleur’ or performing a punk jazz revamp of ‘Stranger on the Shore’, might have to wait a while yet.  

The cover of Owning Up, pictured top

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Improv momentum
at Brilliant Corners

Improv rising star pianist Alexander Hawkins crops up in two playing situations at the inaugural Brilliant Corners festival later this week.

The Oxford-based musician performs with his own band Decoy on organ, alongside John Edwards and Steve Noble, but Hawkins is also to feature at the Belfast festival in Human, drummer Steve Davis’ new band.

Davis, best known for Bourne/Davis/Kane, no not a firm of architects but a peerlessly anarchic piano trio, has teamed up to be Human, as it were, with the maverick violinist Dylan Bates, and trumpeter/electronicist Alex Bonney.  

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MAC attack: the new Belfast arts venue
is at the heart of Brilliant Corners

Liane Carroll, David Lyttle, and Mark Lockheart’s Ellington In Anticipation, are also part of the three-day festival previously trailed in these pages, taking place in the city’s Cathedral Quarter from Thursday.

Alexander Hawkins, top


More at www.movingonmusic.co.uk and www.themaclive.com