Following news earlier this week that Liane Carroll is to headline the new Brilliant Corners festival in March, the following month, it’s now understood, will see the latest album to be released by the award winning singer who is also touring heavily in the spring. Titled, quite simply, Ballads, it’s the classic jazz singer’s latest for Quiet Money Recordings, trumpeter James McMillan’s label, who returns to produce Liane once more following their work together on Up and Down released two years ago. This new album features arrangements by Chris Walden whose work includes Paul McCartney’s 2012 album, Kisses on the Bottom

Ballads tracks include ‘Here’s To Life’, featuring Carroll’s powerful vocals along with classical guitar and celeste; ‘Goodbye’ with a Walden orchestration and Mark Edwards on piano; a big band take on ‘Only The Lonely’ (not the Roy Orbison song, the Sammy Cahn/Jimmy van Heusen torch song closely identified with Frank Sinatra); ‘Mad About The Boy’ with an appearance by pianist Gwilym Simcock; jazz standard ‘You’ve Changed’; Todd Rundgren’s ‘Pretending To Care’ featuring the bass clarinet of Julian Siegel; ‘Calgary Bay’ by songwriter Sophie Bancroft; a strong reading of ‘My One and Only Love’; ‘Will You Still Love Me Tomorrow’ with acoustic guitar and the saxophone of Kirk Whalum who worked with Liane on Up and Down; ‘The Two Lonely People’; and the Buddy Holly associated song ‘Raining in My Heart’. Stephen Graham
Liane Carroll pictured top, and the album’s cover. Ballads is released on 15 April


Muddy Waters’ son, bluesman Mud Morganfield, and a debuting Champian Fulton, are two highlights of this year’s Fife Jazz Festival fast approaching. New York-based singer Fulton is appearing with her trio. imageAlso for Fife in 2013 are The Norrbotten Big Band, Carla Cook, Graeme Stephen, Erja Lyytinen, The Nimmo Brothers, Red Stripe, Dan Block, Eric Alexander, Tim Kliphuis, Brian Kellock, and David Blenkhorn. This weekend festival runs from 1-3 February, and concerts are spread across the kingdom of Fife in cities and towns from Anstruther to Auchtermuchty, with main concerts in Dunfermline, Glenrothes and St Andrews. SG
Above Mud Morganfield, and right Champian Fulton. For the full programme click


The Hillside Mechanisms
Babel ****
Roland Ramanan, the trumpeter son of the influential West Indian trumpeter and poet Shake Keane to whom he paid tribute on the 2002 Emanem album Shaken, has with this trio record laid down a substantial footprint all of his own. Vole, on the record that’s Ramanan, guitarist/electronicist Roberto Sassi, and drummer Javier Carmona, in their band name sound as if they collect together as one small creature, but the album artwork with its mechanical drawings makes one think not of a small being but instead of a futuristic machine as the artwork has some extraordinary cylindrical apparatus depicted in diagram form. Ramanan, who is also known for his longstanding work with the London Improvisers Orchestra, as well as his bands Swift and Wooden Tops, was inspired early in his career by the drummer and educator John Stevens at a Search and Reflect workshop. In the album note to this Babel records release, one of the distinguished label’s finest, speaking of the Hillside in the title Ramanan refers to the road where the “laboratory” of drummer Carmona’s house has acted as a hub for musicians such as himself and guitarist Sassi, who has also created the artwork, “passing through”. What they concocted musically via this meeting of minds was to draw on pure improvisation and composed music. Ramanan, speaking further of “interesting interlocking rhythm structures as well as a certain gritty edge to it”, has an appealing tone, a little reminiscent of Don Cherry’s but also with the wildness of the European avant garde, say early Enrico Rava. There’s also a tenderness on a tune such as ‘No Knees’ that says hit the replay. An album that’s both free jazz and improv (sometimes it’s easy to say one or the other, harder to claim both), and to my mind this doubling indicates width and vision in both performance and improvisational approach. Co-operatively written the eight tracks with the unobtrusive electronic textures on ‘Tim’s Frosties’ just one of the ways the music manifests itself, the exploratory forays of Ramanan’s here and on other tracks, and prevailing drums, a little like the Sunny Murray approach, add up to an excellent album. 

Stephen Graham
Vole, top


The Shearing Hour launches at Pizza Express Jazz Club on Thursday. It’s a solo piano hour beginning at 7.15, ahead of singer Clare Teal’s return to the club later in the evening. The first Shearing Hour, named after the great pianist and composer George Shearing, features a set from pianist John Turville whose trio album Conception was released in the autumn by F-IRE Records. The winner of a Parliamentary Jazz Award for best album in 2011 Turville’s debut Midas turned heads on release gaining a profile for the pianist and composer part of the burgeoning Walthamstow scene. On Conception, he was joined by Jamie Cullum bassist Chris Hill and drummer Ben Reynolds plus cellist Eduardo Vassallo on some tracks. The album highlight turned out to be its title track ‘Conception’, the George Shearing bop original arranged sympathetically by Turville.


The Shearing Hour with its theme of ‘September in the Rain’ has never been a better time to recall Sir George Shearing who died on Valentine’s day in 2011 at the age of 91. Famed for ‘Lullaby of Birdland’, the 1952 theme that was written for the original New York jazz club Birdland, Shearing was a hero of the beats and in On the Road Jack Kerouac writes: “Shearing rose from the piano, dripping with sweat; these were his great 1949 days before he became cool and commercial. When he was gone Dean pointed to the empty piano seat. ‘God’s empty chair,’ he said. God was gone; it was the silence of his departure. It was a rainy night. It was the myth of the rainy night.” Shearing who was blind was born in Battersea and after learning piano at the Linden Lodge school for the blind became a pub pianist in Lambeth, and after a break began recording for BBC radio in the late-1930s. He joined a band led by Harry Parry and won Melody Maker awards before two years after the war emigrating to the United States where he made a name for himself playing at New York night spot the Hickory House with the Oscar Pettiford Trio. Later he recorded for Capitol (famously with Nat King Cole one of several revered albums for the label), among other record companies. His quintet with vibes player Margie Hyams, guitarist Chuck Wayne, bassist John Levy and drummer Denzil Best recorded the best selling ‘September in the Rain’ for MGM and the quintet with different personnels ran intermittently until the late-1970s. The Shearing Hour, put together by Marlbank in association with Pizza Express Jazz Club, is a celebration of the great man’s music and an introduction to the fine talent of John Turville.
Stephen Graham
John Turville top and Sir George Shearing above. Visit the Shearing Hour on Pinterest for clips and photos


Liane Carroll, David Lyttle, Mark Lockheart’s Ellington In Anticipation, Steve Davis, and Alexander Hawkins are part of the line-up of the first Brilliant Corners jazz festival, to be held in Belfast from 21-23 March at the MAC, the Black Box and the Belfast Barge. Taking place in the city’s Cathedral Quarter, the three-day festival, which draws its name from the classic 1957 Thelonious Monk Riverside album, is promoted by leading Northern Ireland producer Moving on Music.


Director Brian Carson says: “Many of today’s more popular music forms take direct influence from jazz and there seems to be a real movement at the moment. Jazz has had a bit of an image problem in recent years, which is definitely changing. We’re seeing a whole new audience coming to our events throughout the year, and an extremely talented group of new musicians emerging. It’s an exciting time.” The line-up is: Continuous Battle Of Order, Decoy (Thursday 21 March, Black Box); Meilana Gillard’s Fine Print (21 March, Barge); Ellington in Anticipation (21 March, MAC); David Lyttle and Interlude (Friday 22 March, Black Box); Ronnie Greer Blues Trio (22 March, Barge); Steve Davis’ Human (22 March, MAC); Arthur Kell (Saturday 23 March, Barge); and Liane Carroll (23 March, MAC). Stephen Graham
David Lyttle top right, to play the Black Box at Brilliant Corners, and Liane Carroll headlining at the MAC on the Saturday night


Eleni Karaindrou
Concert in Athens
ECM New Series ***
With a considerable body of work for ECM already in the catalogue, this Athens concert hall performance of music by the distinguished veteran film, theatre and TV composer Eleni Karaindrou recorded in 2010 begins somewhat glacially with saxophonist Jan Garbarek a slightly masked presence at first. Slowly its treasure unfolds as the strings draw out the tender theme. Along with other guests, celebrated viola player Kim Kashkashian and oboist Vangelis Christopoulos with Karaindrou on piano, this chamber music album, utilising a small band of musicians and the Camerata Friends of Music Orchestra conducted by Alexandros Myrat, takes in music written for the films of the late Theo Angelopoulos, with whom Karaindrou is strongly associated, as well as music for the theatre including American classics Who’s Afraid of Virginia Woolf? and Death of a Salesman. ‘Requiem for Willie Loman’, the tragic hero of Arthur Miller’s great play, and the very theme captured so well by Garbarek, and reprised at the end of the album once more, is the sort of work that the composer must have had to keep a brave face writing. You’d need to be made of flint not to be moved by this album highlight as it unfolds so unflinchingly and returns so effectively at the album’s conclusion. So, superior arthouse mood music as a whole, with a serious disposition the meditational footprint of which is often tellingly felt. SG
Released on 11 February 

Dominic Alldis
A Childhood Suite
Canzona ***1/2
In Dominic Alldis’s latest trio album A Childhood Suite for jazz piano trio and orchestra, the pianist, arranger, and composer explains he is “always looking for melodic material with which to inspire new creative projects.” He had realized at an earlier point that the simplicity of nursery rhymes allowed for great variation and instant recognition, and earlier album Songs We Heard (with bassist Mark Hodgson and drummer Stephen Keogh) first drew on the idea of a trio improvising on nursery rhymes from around the world. This new release reworks more than a dozen of these arrangements, adding a string section and containing an Alldis original. With the pianist are modern-mainstream bassist Andrew Cleyndert, and Spin Marvel drummer Martin France, whose trio work with John Taylor and Palle Danielsson has been justly praised. Beautifully recorded at Menuhin Hall, A Childhood Suite, has a simplicity and sincerity rare these days in the hustle and bustle of the record industry demanding a certain crash, bang, wallop approach. You many have come across Bruno Heinen’s Dialogues trio record Twinkle Twinkle last year, when the pianist put ‘Twinkle Twinkle’ under the microscope as Mozart did in a different time and fashion, and as Alldis does here. But think of A Childhood Suite as a broader sweep, beyond jazz although of it in the same way as the album draws on classical music, with a soft soothing touch more like a finely constructed harmonic reverie than a more inquisitive foray at the raw materials of the musical themes. ‘London Bridge is Falling Down’ is typical of some of the momentum generated by the trio, and with a dark opening, the mood changes to allow for a developing momentum and joyousness that many of the other improvisations also possess. Very much in the Jacques Loussier or David Rees-Williams stream of light jazz and classical synthesis it’s an album that never lacks for charm and empathy, with some lovely moments along the way including the captivating Vaughan Williams-like violin solo and fine arrangement on ‘Girls and Boys Come Out To Play.’ Stephen Graham
The Dominic Alldis trio pictured above


Last year was like a dream for Roller Trio, and it wasn’t just that they picked up nods from the Mercury and MOBO prize panjandrums or surprise discombobulated indie scenesters at the Roundhouse. It was also a good year for the F-IRE label whose vicarious pleasure in their band’s success was palpable. image
This year, once the snow has melted, is about touring and while the northern outfit is not returning to Milo’s in Leeds where the fuse was lit at least on YouTube where you’ll see them play ‘The Nail That Stands Up’, Roller Trio are appearing not far away at the Venue in Leeds College of Music, the very college where the band first met. Super educated young jazz polite boys and girls who haven’t heard them so far can catch the band there should they venture out or at a jazz spot around and about. Dates are: The Lescar, Sheffield (30 January); Kings Place, London (2 February); King Tut’s, Glasgow (23 Feb); Capstone Theatre, Liverpool (28 Feb); Norwich Arts Centre, Norwich (7 March); Vibraphonic Festival, Exeter (14 March); Venue, Leeds (22 March); Cheltenham Jazz Festival, Cheltenham (6 May); and Hare and Hounds, Birmingham, on 29 May. SG
The Venue, Leeds College of Music top where Roller trio above, right play in March


The James Taylor Quartet are to release their latest album Closer to the Moon an album that suggests a broadening of scope for the Jimmy Smith-influenced Hammond organ-led acid jazz era band as the album planned for a 6 May release is to bristle with added celeste, vibes, harp, zither, gong, glockenspiel, and apparently even tubular bells. Hammond man Taylor who fronts the longstanding outfit also takes a lead vocal on ‘Close To You’, a definite departure. JTQ touring dates before the album release include a return to Ronnie Scott’s, London appearing with the Nick Smart Horns and singer Yvonne Yanney from 20-23 March; then the Donkey in Leicester on 6 April; Guildhall, Portsmouth (12 April); and Assembly Hall, Islington, London for two nights on 3-4 May just ahead of Closer to the Moon album day. SG
James Taylor, above


In the National Theatre foyer earlier, and returning later this afternoon for a further 90-minute set, singer Aimua Eghobamien’s Indigo Sessions took the chill off a wintry day on the Southbank with a fine mix of songs subtly delivered. Featuring two double bassists Jerome Davies and Oli Hayhurst joining Eghobamien and The Face of Mount Molehill violinist Julian Ferraretto the set opened with a poised, downtempo reading of the 1920s Irving Berlin standard ‘Blue Skies’ , but the highlight was perhaps Randy Newman’s ‘Same Girl’ from the singer/songwriter’s Trouble in Paradise album released 30 years ago this month, with a lyric close enough to indigo just like the opening Berlin song, the ‘Same Girl’ lyric effortlessly captured by Eghobamien’s bass baritone: ‘With the same sweet smile that you always had/And the same blue eyes like the sun’, performed with a suitably languid jazz connotation. SG
Indigo Sessions above continue at 5.45 


Dieter Ilg
ACT ***

Eric Schaefer
Who Is Afraid of Richard W.?
ACT ***
With a Wagner connection, both albums, despite one playfully equipped with a question mark, find solutions to a problem that doesn’t really exist. If anyone wants to cover classical material even by a hideously divisive figure such as Wagner, then there really isn’t anything new or necessarily interesting in this. After all since Jacques Loussier’s interpreting of Bach, or classical composers from Milhaud on incorporating jazz into their compositional approach, it’s not a live issue. Bassist Ilg, who knows his Verdi as well as his Wagner, performs his Parsifal with the trio of pianist Rainer Böhm and drummer Patrice Héral with respect and gentleness, and it corresponds to the orthodox modern jazz piano style that’s not dissimilar to the tasteful approach of the Benedikt Jahnel Trio indicated on Equilibrium, although there is some fulfilling Ilg Trio improvising on tracks such as ‘Ich bin ein reiner Tor’, as any “fool” might discover. There’s some familiar Beethoven tucked in as well at the end.


Ilg offers variations on Wagner in essence but [em] drummer Schaefer’s album is “revisiting”, and despite the loaded terminology has more impact, flavoured by the superb pristine trumpet and flugel tone and interpretative subtlety of Tom Arthurs who you’ll also hear on the upcoming Julia Hülsmann quartet album. It’s not as conventional as Ilg’s, with bits of reggae on his own tune ‘Nietzsche in Disguise’ for instance, and Volker Meitz’s steamy organ intro to ‘Lohengrin’ is an inventive touch that does work especially when Arthurs builds a solo from its marshy base. Bassist John Eckhardt is also clearly a name to watch. If you liked Schaefer’s groove on ‘Das Modell’ on Wasted and Wanted you’ll want to hear what he does on this album from a drumming point of view, but the overall concept of both albums is more of a burden than a plus.

Stephen Graham 

Both albums are released on 11 February. Dieter Ilg, top, and the cover of Who Is Afraid of Richard W.?


Francesc Marco (on accordion) and Fred Thomas set up as bassist Jiri Slavik looks on at the soundcheck before last night’s Fly Agaric gig at the Vortex in Dalston. Joined by fourth member, reedsman Zac Gvi, later to complete their set-up the F-IRE Collective band went on to perform selections from their new album for the label, In Search of Soma. Opening with ‘Closely Observed Trains’, which takes its name from an influential 1966 Czech film, three of the band curiously donned bright red “mushroom hats”, a link to the fungus-loving outfit’s name. Later tunes included a trenchant juxtaposition of a discredited speech of Nicolas Sarkozy’s with a puckishly Mingusian groove on ‘Travailler plus pour gagner plus’; a brand new song translated as ‘Wicked’ in English, charismatic frontman Gvi explained with a laugh; and the pleasantly tricksy ‘It takes one two, no’, surely a soundcheck special at least in spirit. Marco on piano added some great stride touches towards the end while Gvi channelled his inner Prez. SG


Lunchtime today sees the beginning of a major solo piano tour by Robert Mitchell, during which his latest album The Glimpse will be released. A solo feature for left hand only its dozen tracks contain some of the most unusual piano music you’ll hear this year. In the notes to the Whirlwind Records release Mitchell talks of the challenge of undertaking the project in the first place. “I don’t believe,” he says, “there has been anywhere near enough recording to address what I think is a strongly valid form of piano music – that made by the left hand alone. And the insisting that improvisation play a part, also takes this to a rare, but intensely interesting place for me.” Initially drawn to the idea by writing for a classical piano event, the title track Mitchell says integrates the “different pathways and possibilities” that the task could take him to. The pianist, who received acclaim for his earlier less unconventional piano solo album Equinox released in 2007 cites classical piano history specifically Zichy, Wittgenstein and Godowsky in terms of left hand-only playing, with jazz connections encompassing the music of Phineas Newborn Jr and Kenny Drew among others. On The Glimpse recorded at the Capstone Theatre in Liverpool last summer Mitchell has composed all the music except for classical composer Frederico Mompou’s ‘Prelude No 6’, which trumpeter Byron Wallen had alerted Mitchell to, and ‘Nocturne for the Left hand Alone’ by American pianist Fred Hersch, a “modern classic”, Mitchell says of it. This new album certainly makes me for one think of solo piano a little differently, as it’s like looking at a familiar building from a different angle and in so doing finding detail hitherto neglected or taken for granted. It’s about an altered reality for sure. Track six ‘The Sage’ in only five minutes and nineteen seconds the composition has a cinematic reach within this small time that is very remarkable. Rhapsodic, the restriction imposed by playing left hand only is not a barrier in the least, although as elsewhere on the album sometimes there is a feeling that it’s a bass player’s record! An innovative album then, don’t assume a thing.
Stephen Graham

The tour begins with a Royal Festival Hall foyer concert at 1pm
See for further tour dates. 
The Glimpse is released on 18 February. Robert Mitchell, above


Vinyl specialist label Gearbox is to release a new Mark Murphy record, a vinyl EP tribute to Shirley Horn recorded in the US as recently as November. Songs include a fine version of ‘But Beautiful’, although full track listings are still to be confirmed. As previously indicated, the label is also partnering with Cardiff indie Edition to bring out Mirrors on heavy vinyl with an imminent release date. This is the new Kenny Wheeler, Norma Winstone and London Vocal Project album, and also working with Edition Gearbox will issue the flute-flavoured marvel, as early listens more than suggest, of Birds by young Norwegian heavyweight saxophonist Marius Neset of Golden Xplosion renown. Gearbox is also issuing a new vinyl LP by esteemed Tubbyologist, tenor saxophonist Simon Spillett and his quartet of double bassist Alec Dankworth, pianist John Critchinson and drummer Clark Tracey. The label is also putting out a vinyl EP by young singer/songwriter Sasha Siem. Gearbox will also release a limited edition Pete Brown and Michael Horovitz jazz poetry vinyl box set to be ready for 20 April, UK Record Store Day, and the label is also planning to embark on the release of a series of previously unreleased live recordings from Ronnie Scott’s in the 1960s, featuring, among others, Sonny Rollins and Freddie Hubbard.

Stephen Graham

Mark Murphy, top

More on Gearbox


The Mingus Big Band’s Lauren Sevian, Jazz Jamaica All Stars’ Teresina Morra, and Céline Bonacina are just three of a new wave of young female baritone saxophone players to make an impression on the overwhelmingly male-dominated jazz band reed section scene in recent years. Now Bonacina, who in 2011 was part of the first wave of mentoring programme Take Five Europe, the Serious-backed initiative that spread out from a British base, returns with her latest album Open Heart. Bonacina began in Paris big bands during the late-1990s, and later made the unusual move to Réunion before returning to France to release her debut, Vue d’en haut. Released on 11 February, Open Heart sees ACT records keeping faith after the fine baritone stylist who plays in a Harry Carney-meets-John Surman way, won plaudits for her initial album for the label Way of Life and a nomination for a Victoire du Jazz award. On the new album it’s her playing that does the talking as the lively burbling momentum and spirit at work throughout goes some way to underline. With a trio featuring electric bassist Kevin Reveyrand and drummer Hary Ratsimbazafy, guests include former Miles Davis percussionist Mino Cinelu on a dozen-track set that also folds in a bonus live track featuring Michael Wollny, all more than going to show the bari player’s considerable mettle. SG

Céline Bonacina, top


Composer Adrian Johnston’s music for the Louis Lester Band, the fictional 1930s black British jazz band whose story is told in upcoming drama series Dancing on the Edge, has now been confirmed for release. The BBC2 drama written and directed by Stephen Poliakoff features original music by Johnston, a long time musical associate of Poliakoff’s. For this new collaboration they are in unchartered jazz, and, specifically Ellingtonian, territory. The soundtrack leads off with the ‘hit’ song for the band, ‘Dancing on the Moon’, followed by catchy ‘Dead of Night Express’, ‘Downtown Uptempo’ and ‘Lovelorn Blues’, while Duke’s ‘jungle’ period is conjured in ‘Dowager’s Delight’ written as the theme for Lady Cremone, played by the great screen actress Jacqueline Bisset making a rare appearance in a British television drama. There’s jaunty piano, and superb trumpet from jazzmen Jay Phelps and Chris Storr on this tune, representing a transitional phase in the plot of the mystery, one of the standouts, along with the medium-slow ‘Big Ben Blues’, and ‘Lead Me On’.  


The vocalists who join the Louis Lester band, with the hero of the piece pianist/bandleader Lester, played by Chiwetel Ejiofor (pictured on the CD cover), making its unprecedented way in the high society circles of the day, are Jessie played by Angel Coulby, and Carla (Wunmi Mosaku), with Jessie recalling the style of Ellington singer Ivie Anderson vocally, and Carla a little bit more like Adelaide Hall. The digital edition has extra tracks including the gospel version of ‘Lead Me On.’ 

Stephen Graham

The Louis Lester band’s singers, Carla (Wunmi Mosaku, top, on the left), and Jessie (Angel Coulby). Above right the CD cover of the original soundtrack of Dancing on the Edge performed by the Louis Lester Band. The soundtrack is released by Decca on 28 January. The first episode of Dancing on the Edge is now scheduled for Monday 4 February, beginning at 9pm. Read the February issue of Jazzwise for insights from the director


Tenor-of-our-times Chris Potter on his ECM debut as leader has come up with something very special indeed, make no mistake, on The Sirens (*****). Released in just under a fortnight, on 28 January, the album has a Homeric conceit, like streets in close proximity can be named after peaks in the same mountain range,  so the tracks on this record have titles to match the legendary tale. You’re also by association supposed to say it is epic! Or heroic! In terms of technique it’s not just that Potter handles the saxophone like a rancher is able to tame the wildest horse; he can also charm, coax and caress.

It’s all about expression on The Sirens, and like a theatre play that suddenly makes you feel frightened, or anxious to know how the drama is resolved, whether it’s going to be happy, sad, or even tragic, the narrative of each tune manages this as well. The serious yet unpretentious tunes he’s written resemble the way Potter stands on stage in a club before he plays, looking ahead, presenting himself, at ease with what they call the fourth wall, although as improvisation gains traction he’s oblivious to it. Charles Lloyd drummer Eric Harland is at the kit and it’s a maelstrom of ideas he brings to the session, the way say Nasheet Waits can burn on a Jason Moran record, with Harland’s own customised input.

There is a tenderness at play that Potter is expert at, maybe the best interpreter of a ballad since, in a different idiom, Stan Getz. Larry Grenadier on bass sounds different here than the way he plays with Brad Mehldau, he’s actually sounding more like he does with Fly. As for brilliant pianist Craig Taborn, well he’s less abstract than he usually is say on a song like ‘Kalypso’ and he rows in to meet Potter somewhere close to a Monk sound after his solo here. The other pianist, David Virelles, is on hand with the role of adding prepared piano sounds, celeste and harmonium, so that’s a twist in the arranging and it gives the album a distinctiveness without being gimmicky. The title track, opening with Potter on bass clarinet, and the very moody and sensual seascape-like accompaniment then opens out to transport us the listeners into the middle of a dream. When was the last time a song did that? Chicago-born Potter, who celebrated his 42nd birthday on New Year’s Day, has been playing beautifully of late and in the Unity Band last year with Pat Metheny showed just one more aspect of what he can do. There’s something magical in the water with this release, an element as mysterious, dangerous, and vital as the best music.

Stephen Graham

Chris Potter top


Early next month leading improv percussionist Mark Sanders, and the Steve Tromans Trio, led by pianist Tromans with bassist Chris Mapp and drummer Miles Levin, are to travel to the US as part of an exchange between the cities of Birmingham and Chicago. It’s an initiative of Town Hall and Symphony Hall’s Jazzlines programme, in collaboration with Umbrella Music Chicago. The Birmingham musicians will spend a week in Chicago performing and rehearsing with locally-based musicians in a city renowned for innovation in improv. They will be playing gigs at the Hideout in a double bill, with the Tromans trio joined by an avatar of Chicago improv, reedsman Ken Vandermark, plus Mark Sanders and Jason Adasiewicz in duo on Wednesday 6 February. All four Birmingham musicians then hook up to perform with Dave Rempis, James Falzone and Josh Berman in small and large groupings at The Elastic Arts Center the following day, which leads to two days in rehearsal of a new Steve Tromans octet commission involving all the players. The piece will then be performed at the Hungry Brain on Sunday 10 February. SG
Mark Sanders above


Lineage made their London debut in Hideaway at the weekend. Only their second gig ever, the Streatham club had a busy Saturday night feel, as sleet fell softly outside.

With a front line of trumpeter Byron Wallen, and saxophonist Tony Kofi concentrating on alto saxophone and soprano sax, with a rhythm section of fine Mulgrew Miller-influenced pianist Trevor Watkis, bassist Larry Bartley, fresh from a date with Skydive at the 606 on Wednesday, and UK-based American drummer Rod Youngs, like Bartley and Kofi, a member of the great Abdullah Ibrahim’s band Ekaya.

The Collins Dictionary defines the word ‘Lineage’ as meaning in one primary sense “direct descent from an ancestor, especially a line of descendants from one ancestor”, and both as a diaspora band united in shared musical and cultural approaches, and as stylistic descendants of some of the giants of jazz from the hard bop years and their modern day counterparts, the band succeeds on both fronts as it does on its own terms as top class players. It’s also a meeting of old musical friends, as for instance Kofi and Wallen go way back to the heyday of 1990s hard bop band Nu Troop, and you can tell when two instrumentalists have a close understanding as they know each other’s moves and can read each other’s direction beyond the letter of the closely arranged often intricate material as here. Kofi said he couldn’t think of anyone better to play the trumpet part on his ballad ‘A Song For Papa Jack’, which appeared on Kofi’s acclaimed 2006 album Future Passed, the song dedicated to Tony’s father who died 15 years ago, and Wallen played it beautifully.


Talking to the audience later in the set Wallen made the astute comment: “Music is about relationships”. And that’s something audiences and musicians neglect to remember sometimes, but this band doesn’t in the broader sense even for one moment. Bookended by Woody Shaw tunes, opening with ‘Sweet Love of Mine’ and culminating at the end of the first set in Shaw’s classic mover, ‘Moontrane’ (Byron explained the title by saying amusingly: “Woody Shaw had a dream of Coltrane riding a bicycle on the moon”). Other set highlights were Tony Williams’ ‘Citadel’, heard on the much missed drummer’s 1980s Blue Note quintet album Civilization, here featuring Trevor Watkis on fine form as he was throughout, especially later on his own tune ‘With Substance’, which featured Larry Bartley and the deep throb of his bass was captured accurately by the club sound system, while Youngs’ cymbals were crisp and clear in the body of the big room. This band just has to be heard.
Stephen Graham

The Hideaway audience top relaxes before Lineage above make their London debut


Soweto Kinch
The Legend of Mike Smith
When Conversations with the Unseen came out in 2003, everyone on the British jazz scene just had to stand back and take note. After all a young player, a complete unknown then, had somehow come up with something that immediately ranked him as a significant player who in time I suppose will be thought of as one of the greatest alto saxophone players this country has ever produced. And his skills were picked up internationally as well, with Kinch collecting international plaudits at the Montreux Jazz Festival winning a hotly contested saxophone award, while going on to develop his dual saxophone/rapping concept to move him into a new space, in the process gaining the high profile backing of Wynton Marsalis. Contrast Kinch’s musical journey with another Wynton protégé of the time, the blisteringly impressive Italian Francesco Cafiso, a more conventional if equally celebrated saxophonist, who has taken a different more orthodox path. When Kinch won the Peter Whittingham award back in the UK he used the money to fund the much sought-after single ‘Jazz Planet’, a catchy rap about an imagined topsy turvy world where jazz is the commercial music, and rock is the art music that no one really listens to. It’s amusing but makes its point felt. Kinch was underlining his ability as a lyrics man and a freestyler, at concerts often asking audience members to lob words (often very difficult rarely heard fiendishly polysyllabic ones) to build an impromptu rap.

Concept album A Life In The Day of B19: Tales of the Tower Block, his Birmingham album, was not so much of a success despite some good ideas, and was a bit of a curate’s egg, good in parts, but changing label and settling down into a better groove as his artistic direction changed The New Emancipation released in 2010 saw Kinch assert himself fully again and was met with positive reviews.


The Legend of Mike Smith is once more a concept release, this time a double album built around the idea of the seven deadly sins with many short tracks spread over the two CDs, lots of humour, and role playing featuring characters that include Soweto speaking as his inner voice, his brother Toyin Omari-Kinch as album hero Smith, and skits plus full blown instrumental burn outs. Mike Smith is a hopeful MC looking for a deal but he has everyman qualities and faces everyman temptations, trials and tribulations.

The core band is Kinch with Karl Rasheed-Abel on bass and Graham Godfrey drums with Kinch inviting in many guests to either speak, act, sing, or play. Tessa Walker is perfect as the blasé record company A&R Kate Advo for instance and the best musical cameos include one from Jay Phelps on the ballad ‘Vacuum’ set against an elegiac piano line from Julian Joseph, with Kinch playing a kind of tough guy romantic on alto sax. Kinch also plays quite a bit of tenor sax on the album, an instrument he’s less associated with. Cleveland Watkiss appears on ‘Avaritia’, with its baroque liturgical undertow, in one sense a scaldingly anti-capitalist protest song critical of the excesses of a violent society obsessed obscenely with profit. It’s also a post English-riots London fable, the city as Mammon, but also the place where as urban people we live, an engine of greed. That song leads on to the Sons of Kemet-influenced ‘Slam’ with Shabaka Hutchings duelling against Soweto as the two master reedsmen go head to head. It’s wonderful stuff the pair riffing against neat harmonies with Godrey coming into his own hard at the kit. There’s lots more on this superb double album, funny little songs such as the fast food restaurant parody ‘Gula’ and its companion ‘Escape the Vomatorium’ and a certain historic time shuffling stepping back centuries before The Pharcyde via beats, baroque classical music programming, and a Milton-esque narrative sense. And what’s that rattling Mr Benn-type marimba-sounding moment on ‘Gula’, old TV music, lost in the ‘vomatorium’, possibly, as well? Finally, listen out for Eska Mtungwazi on the well crafted song-of-the-spurned, ‘Better off Alone’, on the second disc. There’s no getting away from it: The Legend of Mike Smith is a triumph.
Stephen Graham

Released on 18 February. Soweto Kinch and friends top, with the cover of The Legend… above


In the studio with Empirical at the moment, bassist Tom Farmer can be heard on the talented guitarist Ant Law’s upcoming new album, Entanglement (***1/2), to be released on 33 records next month coinciding with a substantial tour. The former Edinburgh university and Berklee student, turned session player, makes his debut as leader at last with this album. With Farmer and Law, Kit Downes Quintet drummer James Maddren hitches up too and interestingly-vinegary former Round Trip saxophonist Michael Chillingworth plus pianist John Turville make up the complete band. Law equates improvising in the album title with quantum entanglement, when particles interact, apparently, but don’t let that put you off, as the improvising here is anything but coldly quantifiable. Law is deeply interested in the concept of a perfect fourths tuning system (tuning the low string to Eb allowing constant intervals between the strings) and is a published author on the subject, but combines the rigour of his academic thinking with instinctive playing of a high order here. His tunes have a holistic feel as the Binney-like Chillingworth runs take hold of the music in breakaway sections displaying well developed improvisational teeth. Not sure about some of the song titles (the otherwise engrossing ‘Entanglement 1 – Janus and Epimetheus’ is a bit of a tongue twister), but the playing is impressive throughout, and Maddren sounds as if he’s enjoying himself, as does the always switched-on Farmer. All the compositions are Law’s except for Trane’s ‘Satellite’, the sixth of the nine tracks. Hear Law’s band touring as a quartet on tour next month at Milestones, Hotel Hatfield, Lowestoft (3 February); Jazz Nursery, London SE1 (7 Feb); Jazz at St John’s, St John’s college, Cambridge (15 Feb); the Cellar, Southampton (18 Feb); Dempsey’s Cardiff (19 Feb); Spotted Dog, Digbeth, Birmingham (26 Feb); Jazz Bar, Edinburgh (27 Feb); and Art Club, Glasgow (28), with more dates in March and April. SG

Ant Law above


Empirical are to enter the recording studio on Friday for the first session of a recording stint that will see the award winning post-hardbop band laying down tracks for their latest album for the Naim label joined by a string section. Empirical late last year performed brand new material with the Benyounes Quartet at the London Jazz Festival, some of which is destined for the album, and they join them in the London studio for the session. Benyounes are an ensemble formed six years ago at the Royal Northern College of Music in Manchester, and find themselves with a key Brit-jazz band that made a huge impact when it appeared fully formed out of nowhere, as it seemed at the time, for a multi award-winning self titled debut album produced by Courtney Pine for his label Destin-e back in 2007. The band won both Jazzwise and Mojo album of the year, and has since gone on to build on its reputation recording for the Naim label.

The band’s alto saxophonist and co-founder, Nathaniel Facey, was in action last night playing quite superbly with new vocal star in the making singer-pianist Theo Jackson at the 606 club in Chelsea. Facey has been nominated in the UK instrumentalist of the year category of the inaugural Jazz FM Awards that take place at the end of January. The set’s standout was easily ‘A Bitter End For A Tender Giant’ with Facey in duo with Jackson. Facey also showed great poise and finely honed interpretative ability on Mongo Santamaria’s ‘Afro Blue’ near the beginning. ‘A Bitter End…’ composed by the saxophonist first appeared on Empirical’s acclaimed 2009 album Out ’n’ In, Facey’s evocative and unsentimental tribute to Eric Dolphy, who died young after his diabetes condition was left untreated at a Berlin hospital in 1964 on the erroneous assumption by doctors that Dolphy was a drug addict.

The duo setting was complemented by band performances featuring the Oxford-based singer joined by the Ahmad Jamal-influenced rising star, the 19-year-old Reuben James, who took to the piano stool for a bunch of numbers when Jackson sang, joining Facey, Jackson band bassist Shane Alessio and drummer Jason Reeve. Reuben James has been touring as a member of Jay Phelps’ quartet recently, the trumpeter who played so memorably on Empirical’s debut album, and who will shortly be seen playing the part of a fictional 1930s trumpeter in Stephen Poliakoff’s television drama Dancing on the Edge as a member of the Louis Lester Band. Empirical are touring following the recording sessions and should be on firing form. Catch them at the Terry O’Toole Theatre, Lincoln on 24 January; Hidden Rooms Cambridge 25 Jan; Pizza Express Jazz Club, London on 4 February; Seven Arts, Leeds, 7 February; and Millennium Hall, Sheffield, on 8 February. Naim say they’re aiming for an August album release.

Stephen Graham

Nathaniel Facey, pictured with Shane Alessio, at the 606, London, above


The line-up for next month’s 12 Points festival in Dublin has been announced. The bands, with related links are: OKO from Ireland ; Sarah Buechi’s THALi from Switzerland ; the Enrico Zanisi Trio from Italy ; Nikolas Anadolis from Greece ; Cactus Truck from the Netherlands ; Hanna Paulsberg Concept from Norway ; Mopo from Finland ; Soil Collectors from Sweden ; Koenig Leopold from Austria ; Ozma from France ; Manchester’s Beats & Pieces Big Band from the UK ; and the Olivia Trummer Trio from Germany

Irish band OKO are on home territory this year after the festival’s trip to Portugal last year. This fairly new four-piece avant-folktronica band is on the radar of Matt Jacobsen’s Diatribe label, with a debut expected soon.

Swiss artist, singer Sarah Buechi’s quintet THALi, by contrast draws in world music flavours and particularly south Indian sounds to their jazz mantle inspired partly by Buechi’s studies in Bangalore.

The Italian band coming to 12 Points is a romantic piano trio, led by the multi-award winning pianist Enrico Zanisi, whose album Quasi Troppo Serio (‘Almost Too Serious’) has been issued to no small acclaim by leading Italian jazz indie label Egea.

Greek pianist Nikolas Anadolis, from the beautiful northern city of Thessaloniki, is another keyboards high flier, a player who won the Martial Solal piano competition in Paris two years ago, while Amsterdam sax/guitar/drums trio Cactus Truck, not long back from a tour of the States, should shake things up with their rumbustious free jazz and noisenik flavours.

The sax-led Norwegian band Hanna Paulsberg Concept only came together in 2010 but picked up a major accolade the following year by winning the Young Nordic Jazz Comets in Stockholm, the contest kudos always a strong indicator of a band on the rise. Their dreamy debut is called Waltz for Lilli.

Finns Mopo are another trio, this time with a quirky baritone saxophone attack and requisite free thinking attitude. Only around since 2009 they have a distinctive approach that could well make them ones to watch closely this year.

Another big hope is Swedish alternative impro-rock band Soil Collectors who have already toured widely, combining as they do in somewhat mysterious fashion, voice, electronica, and percussion to captivating effect, their signature sound infused with a Nordic sense of noir and littered with found sounds, one that is both vogueish, and also winningly atmospheric.

Austrian jokers-in-the-pack Koenig Leopold (taking their names from the surname of the band’s Lukas König, and part of bandmate Leo Riegler’s first name), summons dada, Zappa, and Monty Python with spectacular results served up over some characteristically reheated energy-laden beats.

French four piece prog jazz outfit Ozma are also strongly fancied for the festival, with guitarist Adrien Dennefeld already known on the London scene for his work joining forces with Kit Downes in the “shuttle" band Barbacana and his quintet. In Ozma Dennefeld is with saxophonist David Florsche, electric bassist Edouard Séro-Guillaume and drummer Stéphane Scharlé, and Ozma released their album Peacemaker just last year.

The UK’s Beats & Pieces need little introduction to close followers of all things jazz over the last two years. Simply Ben Cottrell’s Mancunians have become the Loose Tubes of the current scene, so their appearance following the success of World Service Project last year will be keenly gauged at 12 Points in 2013.

And finally Stuttgart pianist and vocalist Olivia Trummer comes to Dublin with her trio, a chance for the Irish audience to sample this seasoned classically-influenced musician who already has a strong collection of work as a recording artist.

Taking place at the Project Arts Centre in Temple Bar from 13-16 February the festival has built a hard won reputation as the key early adopter’s new band showcase of choice, with a broad range of the best progressive jazz talent from across the continent. This year’s crop of bands promises to build further on past accomplishments. SG

Soil Collectors top


Unveiling his hot new band The Vigil, one of the greatest jazz musicians on the planet, pianist, keyboardist and composer Chick Corea returns to Ronnie Scott’s on 5-6 March for a tantalising two-night run.

Corea will be joined on the stage of the Frith Street jazz shrine by Tim Garland, Hadrien Feraud, Marcus Gilmore, and Charles Altura completing The Vigil. The club dates come just under a year since New Crystal Silence arranger and former Chick band member Garland joined the Return To Forever man on stage as a surprise guest at the Barbican, when Corea had earlier performed in front of a big concert hall audience that night with Gary Burton. Garland played soprano sax during the encore  “jamming" on Chick’s classic composition ‘La Fiesta’ and Monk’s ‘Blue Monk’.

With some 16 Grammys to his name the band Corea brings in to Soho in this coup for the club features fusion bass guitarist Hadrien Feraud, best known perhaps for his work with John McLaughlin appearing on such albums with the master axeman as Industrial Zen and Floating Point, while drummer Marcus Gilmore is no stranger to UK audiences, both as a member of Steve Coleman’s Reflex and Vijay Iyer’s trio. Guitarist Charles Altura, though, is the least known of Chick’s band, but has his own happening band in the States, in action just last week on the West Coast featuring the hotshot Blue Note trumpeter Ambrose Akinmusire. There are two houses each night for Corea’s Ronnie Scott’s shows, a fascinating new venture by a musician ever reluctant to rest on his considerable laurels. SG

Chick Corea above. Check on Friday for remaining tickets


Live dates have now firmed up for José James whose album No Beginning No End, is released in just under a fortnight on 21 January. Heavily trailed since October, the album may well see the jazz singer become much better known to wider audiences, but for now he will in all likelihood retain his jazz audience. No Beginining, No End (****) has an authentic retro jazzed-out soul sound, not Gregory Porter’s way, say, although both singers profess much love for the music of Nat King Cole yet come at the tradition from a different angle. Each has a very different voice, and James is more alert to the club scene, ‘club’ as in the old acid jazz rare groove sense, and with James it’s one ear to Bill Withers, one ear to Flying Lotus and all ears to John Coltrane and Johnny Hartman, but a touch of Gil Scott-Heron for the freestylin’ generation comes in to the picture as well.

The new album of originals opens in bedroom fashion with JJ’s lyrics on ‘It’s All Over Your Body’ with a band featuring famed ‘Wherever I Lay My Hat (That’s My Home)’ bassist Pino Palladino, some retro horns, Robert Glasper and Chris Daddy Dave. World-jazz singer Hindi Zahra guests memorably on the next track ‘Sword and Gun’, yet it’s ‘Trouble’ blessed with a monster groove that really impresses. The Van Morrison band’s Alistair White on trombone makes his presence felt on this JJ-penned song, written with Scott Jacoby, and ‘Vanguard’ following is also excellent, Glasper helming it on Rhodes with Daddy Dave and Pino Palladino, the latter who played very well live with Glasper at the Roundhouse in October and is an album co-producer. Emily King adds lovely subtle touches on the seductive ‘Come to my Door’, the fifth track, and she’s even better on the second of her two album tracks ‘Heaven on the Ground’, which is track six. ‘Do You Feel’ and ‘Make it Right’ passed me by a bit, but ‘Bird of Space’ didn’t, it’s a stayer, while final tracks ‘No Beginning No End’ and ‘Tomorrow’, the latter with Monk prizewinning pianist Kris Bowers an appealing harmonic presence. A record this good hardly ever comes along. It’s for jazz and the wider world. SG
Live dates are: XOYO, London (9 April); Sugar Club, Dublin (12 April); and Band on the Wall Manchester (13 April). The cover of No Beginning, No End, above
Extra dates (15/03 update):
Wednesday 10 April, Wardrobe, Leeds; and 14 April at Hare & Hounds, Birmingham


Kairos 4tet enter the studio next month to record their first album since signing to Naim, the label that already has hit bands the Neil Cowley Trio and Get the Blessing on its books. Saxophonist Adam Waldmann, above right, dropped the news to his fans in a new year newsletter that the band would be holing up at Real World studios early next month. That’s the Wiltshire recording facility where the Neil Cowley Trio recorded their debut Displaced. While Kairos had a fairly quiet 2012, partly through an injury sustained by Waldmann that kept the band off the road, the quartet with Waldmann joined by Phronesis’ Jasper Høiby and Ivo Neame, plus Dice Factory’s Jon Scott, won the MOBO for best jazz act the previous year following the release of their acclaimed album Statement of Intent, did appear to play a high profile London Jazz Festival gig in Kings Place where they showcased their single ‘Song for the Open Road’ featuring soul legend Omar who joined the band onstage as part of the Jazz in the New Europe strand. Kairos first emerged in 2010 with their debut album Kairos Moment, although Neame did not come on board until Statement of Intent replacing Rob Barron. Emilia Mårtensson’s vocals added a certain something on the last record as well as on the band’s debut, and Kairos manage the difficult feat of combining a vocal presence with a post-jazz feel, allowing jagged frequently metrically advanced solo lines to mesh intuitively with the often languorous delivery of the UK-based Swedish singer yet retaining an improvising credibility at its core.
Wednesday 9 January update: Naim Jazz label boss Simon Drake says: “Adam and I have wanted to work together for a long time, and I am delighted that everything is falling into place for Naim Jazz Records to release Kairos 4tet’s third album. Kairos are a supremely talented group, who inhabit their own space at the forefront of new British jazz. They work extremely hard and I hope we can help them build on their audience in the UK and beyond. They certainly deserve it!" SG

Kairos 4tet top. Photo: Paul Medley


Rudresh Mahanthappa

Fast and quick thinking with an energy that propels his music beyond the typical bebop threshold into another sphere entirely, a micro world of possibilities and rarely heard sounds merging with the more familiar, alto saxophonist Rudresh Mahanthappa is on exquisite form here. With the microtonally inclined David Fiuczynski a clever foil, chunky no-nonsense bass from François Moutin and thundering attack from drummer Dan Weiss, Gamak is full-on with the ornamentation of south Indian music a titular factor, but also a reinvented bebop spirit, hints at the delta blues and heavy rock. The clever bit is the microtonal or south Indian-sounding harmony Fiuczynski does much to provide, sometimes Fuze can be like the late Pete Cosey, at other times he’s just bluesy or wigs out detuned like a mutant tincan, so this is never going to be a trip to the bebop museum interesting though that may well be on a quiet afternoon. Yet the core of the Mahanthappa band style, particularly its roots in Charlie Parker’s music, are there like invisible ink. ‘Waiting is Forbidden’ is first and best for me, but every track has its merits, with the circling-in on ‘Ballad for Troubled Times’ a great build to a sad song that has the ache and forboding of a certain ugly sense of unease, while ‘The Majesty of the Blues’ rocks out. The album is also beautifully recorded by Mike Marciano. Stephen Graham

Released on 14 January

Rudresh Mahanthappa above


Fifty years ago next month three musicians released an album that five months earlier they had got together to record. They weren’t just any musicians. But together they hadn’t recorded before, and would never do so again. A half a century on following the collapse of Lehman Brothers, the post-credit crunch world where the banks have lost their once invincible air of respectability, big business still rules the money jungle. The album using those two words, and a new meditation on our western economy as a failed way to live, is marked next month with the release of Money Jungle: Provocative in Blue by Terri Lyne Carrington. On the cover of the original artwork of the LP of Money Jungle the biggest point size of the lettering for the musicians is accorded to Duke Ellington, then as now a talismanic figure whose music reached musicians and non-musicians alike the world over. Four days before the Money Jungle sessions it was business as usual for Duke, and with his orchestra he was in a New York studio recording tracks such as ‘Monk’s Dream’, ‘Do Nothin’ Till You Hear For Me (Concerto for Cootie’), and ‘The Lonely Ones’.

The seventeenth of September 1962 was different though, and with the maverick Mingus and bebop pioneer Roach rather than the gathered ranks of the orchestra this was a pared down piano trio album, like no other in Ellington’s vast discography before or since. Why so? Well, first of all because of the power of the personalities you don’t think of it as a piano trio album which is weird. In recent years Vijay Iyer in some ways has showed the modern way to look at this album with, not a trio take although that would be interesting, but just him playing ‘Fleurette Africaine’ in a California studio that later appeared on his album, Solo.

Money Jungle isn’t about instrumentation, it’s about people and ideas. The songs are mainly by Ellington yet the politics are a communality of all three players’ expressed in different ways but essentially the same in the context of the civil rights movement.

Side one opens with ‘Money Jungle’ and then there’s the beautiful ‘Fleurette Africaine (African Flower)’, ‘Very Special’, and ‘Warm Valley’, with side two ‘Wig Wise’, ‘Caravan’, not Ellington’s tune but Juan Tizol’s, and finally ‘Solitude’. CD-era listeners will know the album differently and so perceptions have been altered by time as formats change. So the order of the songs were changed and unreleased songs ‘A Little Max (Parfait)’, ‘REM Blues’, ‘Switch Blade’, and ‘Backward Country Boy Blues’ were now heard for the first time.


Enter Terri Lyne Carrington fresh from the drummer’s Grammy winning success with her vocals-based album The Mosaic Project, and with the extra tracks in mind Provocative in Blue has kept these to the fore so ‘Backward Country Boy Blues’ is the third track with a Lizz Wright vocal, and the other unreleased 1963 tracks are also there plus originally released songs, though not ‘Warm Valley’, ‘Caravan’ and ‘Solitude’, as Carrington’s own tunes ‘Grass Roots’ and ‘No Boxes (Nor Words)’ plus pianist Gerald Clayton’s ‘Cut Off’ take their place.

Carrington says she first heard Money Jungle as a CD version in the new millennium and felt “something mysterious about it,” explaining further. “There was an energy that moved through the tracks. There was this tension that you could hear, and yet they fit together like a hand in a glove.”

Her rearranging of the album has many dimensions. It’s layered with a big cast and is very political. We look to jazz people to say it as it is, no nonsense, and that’s what TLC and her musicians do here. To rolling solo drums a voice at the beginning says:  “People are basically vehicles to just create money, which must create more money to keep the whole thing from falling apart, which is what’s happening. There is no profit under the current paradigm in saving lives, putting balance on this planet, having justice and peace or anything else. You have to create problems to create profit”, at which Christian McBride kicks in with the loose strung sound of Mingus you recognise from the title track of Money Jungle. The track ends with a collage of voices including that of Dr Martin Luther King speaking in December 1963 and President Barack Obama.

On the second track there’s a link to jazz royalty with the voice of Clark Terry, one of Miles Davis’ early mentors in the rap at the beginning of ‘Fleurette Africain’, as spelt here, before Clayton against a luxuriantly laidback Carrington rhythm and a lovely bigger ensemble arrangement that still retains the intimacy of a small band and conjures that mystery Carrington has referred to in her original reaction to the album. The core band is Carrington with McBride and the piano and Rhodes of Gerald Clayton, but the cast is expanded as the album progresses; as a feminist statement track 11 is also significant with new singer/songwriter Shea Rose’s contribution extolling womanhood.

Uniting the past half century with the present at just under the five-minute mark the album goes almost silent, and no less a figure than Herbie Hancock, as “the voice" of Duke Ellington, says: “If jazz means anything at all, which is questionable, it means the same thing it meant to musicians 50 years ago: freedom of expression. I can’t help feeling that the music has outgrown the word jazz. The greatest danger to civilisation is that we don’t appreciate enough our natural heritage. Musicians of the past have influenced all musicians of the future. I think jazz will be listened to by the same people who listen to it now: those who like creative things, whether they understand them or not. If it is accepted as an art the popularity of it doesn’t matter. When you get into popularity then you’re talking about money, not music.”

After the original Money Jungle sessions, two days later Ellington played solo for a TV broadcast, and it was ‘Fleurette Africaine’ he played that day. A week later he was recording with John Coltrane for Impulse.

Stephen Graham

Money Jungle: Provocative in Blue (Concord) is released on 25 February. The cover of 1963 album Money Jungle, top. Terri Lyne Carrington, above


Jazz singer Tammy Weis and pianist Tom Cawley have co-written the first song on the new Erin Boheme album What A Life. Produced by Michael Bublé the album features the star crooner’s band, with Wisconsin-born Boheme (above) duetting with the Bublé-sounding Spencer Day on the excellent ‘I’d Love To Be Your Last.’ Weis, a British Canadian singer who has become an integral part of the sophisticated UK mainstream jazz vocals scene with her highly rated jazz club appearances and recordings, together with Cawley better known for his work with Curios and Peter Gabriel, have written ‘Everyone But Me’ driven by a kind of modified rumba feel, think the feel of Caro Emerald’s ‘A Night Like This.’image

It’s a snappy opening to a record that seems guaranteed to receive commercial radio airplay. Bublé fans will head straight for ‘I’d Love to Be Your Last’ which has the potential to be a huge hit with its crossover country sound.

Less than Lady Antebellum there’s a kind of zeitgeisty 1970s vibe coming through as well on the album from around fifth track ‘The Last Time’ written by David Foster who also penned the Diana Krall performed song ‘I’ll Make It Up As I Go’ featured on Robert De Niro-starring film The Score. ‘Do I Do’ has got instant impact and mainstream soul fans might very well take to Boheme’s superb self-penned and jazzy ‘One More Try’.

Originally signed to Concord at just 17, a protégée of the distinguished jazz pianist and arranger Mike Melvoin who helped Boheme in the early part of her career Michael Bublé also warmed quickly to Boheme’s voice and her putatively Carly Simon-inspired sound. His touring band has worked with the singer on the sessions for the album, with pianist Alan Chang, guitarist Dino Meneghin, bassist Craig Polasko and drummer Rob Perkins appearing plus strings. Boheme says that Weis and Cawley’s song ‘Everyone But Me’ “was the story of my life”, and other songs on the album include a cover of Coldplay’s ‘In My Place’ and Boheme’s ‘What A Life’.”

Stephen Graham

Released on 5 February in the US. Erin Boheme pictured top. Tammy Weis above right. UPDATE: UK release, 25 March


Slipped out sooner than you think, the debut of tenor-of-our-time Chris Potter on ECM is fast approaching with a 28 January release. I haven’t heard it yet but going by Potter’s last few superlative appearances in the UK with his own band at Ronnie Scott’s during the Jazzwise to the Power of 15 week and previously with McCoy Tyner, and the fact that this is a special “new label" event The Sirens will for these reasons be anticipated as one of the first major saxophone statements of the year.

imageInspired by Homeric legend, the Chicago-born Potter, who celebrated his 42nd birthday just this week on New Year’s Day, is on his habitual tenor and soprano saxophones plus bass clarinet, joined by past and present Potter band pianists the sophisticated avant gardist Craig Taborn, and upcoming Cuban David Virelles on prepared piano, celeste, and harmonium. (Virelles also appears on Tomasz Stanko’s double album Wislawa set for a February release). Potter also brings in Brad Mehldau trio and Fly bassist Larry Grenadier, and happening Charles Lloyd drummer Eric Harland. Tracks are: ‘Wine Dark Sea’, ‘Wayfinder’, ‘Dawn (With Her Rosy Fingers’), ‘The Sirens’, ‘Penelope’, ‘Kalypso’, ‘Nausikaa’, and ‘Stranger at the Gate’. SG

The Sirens cover top and Chris Potter above

Ben Goldberg
Subatomic Particle Homesick Blues
BAG Production ***1/2


Ben Goldberg
Unfold Ordinary Mind
BAG Production ****

The first of these albums may have a fancy title, but don’t let that put you off as there’s a bit of joshing going on; it’s not something that might earnestly seek to detain Professor Brian Cox for too long. Down-home from the beginning, Ches Smith’s loose feel on drums underpins the only-a-little fogey-ish environment; and you won’t usually hear trumpeter Ron Miles play like this, certainly not when he was with Bill Frisell. Joshua Redman who has been in his own jazz 2.0 career brave new world phase (1.0 was the glorious Wish and Moodswing days) on fantastic form again on his own records since Compass, working cleverly in tandem with leader clarinettist Ben Goldberg who has written all the tunes (except for one) on these records.

There is plenty to savour on Subatomic Homesick Blues recorded just under five years ago, including the pretty opening of ‘Asterisk’ leading eventually to fine, loose double bass backing from Devin Hoff, and a Ron Miles trumpet line you would have thought no-one was capable of playing any more, at least in atmosphere terms, with the demurring reeds a perfect backdrop. And who knew ‘Who Died and Where I Moved to’ would swing quite as much as it does? No, me neither. An album where everyone knows you shouldn’t be too nostalgic but can’t help themselves.

The quintet album Unfold Ordinary Mind is the more out-there music of this pair of albums, although I certainly wouldn’t want to start thinking about what on earth an “ordinary mind" is. That would be much too boring. More to the point, it is different, with (let’s call him the Marc Ribot of his generation) Nels Cline, and superbly visceral Tim Berne associate Ellery Eskelin, who joins the fray in a two-tenor assault with the gentler Rob Sudduth making up the five as Goldberg and Smith stay on from the other album. ‘Parallelogram’ gives a good account of what Cline can bring to the party, but track four called ‘Lone’ is where it gets deeply serious (the horns stark and real at the beginning), and the feeling that there is an existential dread at the heart of the record that Cline manages to interpret in his own forthright way resorting to an appealingly dank car-park blues with tantalising little bell-like sounds from Smith. Unfold Ordinary Mind is avant rock with loads of improv where history is junked without even the thought of a backwards glance. An extra point for the adventurous streak, and Cline going for it on ‘Stemwinder’. SG
Both albums are released in the States on 5 February. No UK release date so far. UPDATE 9/1/13: The US physical, and US/international digital release date, is now 19 Feb


While for Kit Downes last year involved performing with a variety of bands including Troyka whose album Moxxy picked up good reviews across the board, Anglo-French band Barbacana, and appearing on Golden Age of Steam’s Welcome to Bat Country issued late in the year, 2013 will see the acclaimed ex-Empirical player release a quintet record with piano again at its heart.

Featuring members of his trio, bassist Calum Gourlay and drummer James Maddren, with Golden Age of Steam’s James Allsopp on bass clarinet, and cellist Lucy Railton, the album was recorded at Fishmarket Studios by Robert Harder who produced The Cherry Thing released last year to considerable acclaim.

The new album to be titled Light From Old Stars combines a variety of elements from chamber jazz signifiers in the arranging style through to free improv on a track such as ‘Owls’ and the more cinematic “road movie” conception of ‘Outlaws’, or the remoulded ‘jam’ blow-out feel of ‘What’s the Rumpus.’

Recorded on a Steinway sourced from Beccles in Suffolk Light From Old Stars is to be released in April by London-based indie jazz label Basho, home to The Impossible Gentlemen and Gwilym Simcock, and follows Downes’ albums the Mercury nominated trio album Golden (2009), and Quiet Tiger (2011).

Tracks are ‘Wonder and Colossus’, ‘Bley Days’, ‘Outlaws’, ‘What’s the Rumpus’, ‘Two Ones’, ‘Falling, Dancing’, ‘Owls’, ‘The Mad Wren’, and ‘Jan Johansson’. Details are sketchy so far, but ‘Bley Days’, which the quintet played live on selected dates last year, is Downes’ homage to Paul Bley, and the final track is clearly named as a tribute for the lost leader of Swedish jazz, pianist Jan Johansson who died at the young age of 37 in 1968. Johansson is best known for his classic album Jazz på svenska (‘Jazz in Swedish’), which used European folk music as an ingredient for jazz improvisation, one of the first to do so. ‘Jan Johansson’ is a quietly yearning dream-like track that begins with a scamperingly laidback Maddren rhythm, a low piano rumble, and a lovely melody line that Downes and cellist Railton state in unison before the softly unfolding melody line ascends.
Stephen Graham

Quintet tour dates include: Capstone Theatre, Liverpool, 2 March; Komedia, Brighton, 8 March; The Hive, Shrewsbury 13 April; Bonnington Theatre, Nottingham 18 April; and Jazz in the Round at the Cockpit Theatre, London, on 29 April, with more dates in May and June

Kit Downes above


Crazy name, crazy guys? Very possibly, going by the postcard pictures on the band’s website. I suppose Shatner’s Bassoon could conceivably have been Nimoy’s Nadaswaram or Doohan’s Dulcimer if Chris Morris hadn’t provided some inspiration instead. But maybe there’s something to be said about the perils of band names becoming better known than their lovingly crafted music: Hamster Axis Of The One-Click Panther, anyone? Sadly but a fleeting musical memory.

Aquatic Ape Privilege, the Leeds band’s debut due out on the Wasp Millionaire label in February, opens up with a pleasurable guitar squall from Craig Scott conjuring for a moment the reclusive twang of undersung prophet-of-suburbia Billy Jenkins among the squelchy keyboards, toy effects and disembodied spoken word on opening gambit ‘This Is How You Make A Buck’.

The Bassoon swell to a six-piece combo augmented with a second drummer for live dates, and have been around for a little under three years. Their influences are Tim Berne, Mr Bungle, and importantly John Zorn, who produced that funk metal band’s cult debut album in 1991. Zappa also figures as a reference point and so too, surely, the reigning saint of Leeds improv, the outrageously influential Matthew Bourne.

With four longish tracks among the seven, the opener plus ‘Altered Beast’, the intriguingly titled ‘Breakfast with Boghead’ (beats toast, although not sure about the parrot retching), and the closing track ‘Someone Killed My Panda, the album is a fun rollercoaster ride with some formidable improvising, but they certainly don’t take themselves too seriously. I liked saxophonist Ollie Dover’s talkatively emotive saxophone opener to ‘Boghead’, and hopefully the jokes won’t wear too thin after more repeated play. The signs are good so far. SG

Released on 11 February. Shatner’s Bassoon play Oporto, Leeds on 15 January; The Cluny, Newcastle 29 Jan; The Noise Upstairs, Sheffield on 13 February; The Fish Tank, Durham 18 Feb; Sandbar, Manchester 19 Feb; The Fox and Newt, Leeds 23 Feb; The Splinter, Newcastle 24 Feb; Vortex, London 26 Feb; Safehouse, Brighton 27 Feb; Club Integral, London N16 on 7 March; and Ort Café, Birmingham, 8 March

Shatner’s Bassoon pictured