With a programme that so far has included US jazz-rock fusion heavyweights Yellowjackets, the Henry Threadgill-inspired improv of the acclaimed Trio Red, a sold out slice of New Orleans with Hot 8 Brass Band, pianist Brian Kellock playing the music of Fats Waller, the intriguingly monikered Trio Elf at the Blue Lamp, as well as blues hero Mud Morganfield, gospel from Ruby Turner, and Courtney Pine, the festival moves to a conclusion tonight with Trio Libero featuring the ‘King of Aberdeen’ himself: Polar Bear’s Seb Rochford. The open-minded trio with Rochford joined by Andy Sheppard and Michel Benita make their Scottish debut. More at www.aberdeenjazzfestival.com
Marian McPartland, radio days
There’s a rare screening next week of a film that recalls the career highlights of pianist Marian McPartland, host of US public radio network NPR’s Marian McPartland’s Piano Jazz, the programme that since 1978 has offered a startlingly different look at how pianists present themselves both in conversation and musically.
With Mary Lou Williams and Thelonious Monk in
A Great Day of Harlem, in 1958.
An American radio institution In Good Time, The Piano Jazz of Marian McPartland traces McPartland’s time in the States since leaving England where her jazz story began in the late-1940s and concentrates on the 94-year-old’s tunes and improvisational style down the years, recalling the Hickory House years the 52nd street jazz spot where steaks were on the menu, and sitting-in the order of the day.
Marian McPartland, top and pictured
The screening is on Sunday 24 March at the Stables in Wavendon
For tickets and more details go to www.stables.org
Following quickly on from the death of trad era trumpeter Kenny Ball on 7 March clarinettist Terry Lightfoot has died, aged 77, it’s been announced. Lightfoot had been suffering from prostate cancer, and passed away yesterday, according to ITV news. Born on 21 May 1935 in Potters Bar, the clarinettist and bandleader would go on to lead the Wood Green Stompers while still in his teens, having left Enfield Grammar School and following a brief stint as a reporter on The Barnet Press. He formed his own band, the long-running Terry Lightfoot’s Jazzmen, after RAF service in the mid-1950s, a band Kenny Ball was a member of for a spell. Lightfoot would continue to lead his own bands during his long career in music, although he took breaks for long periods in the 1960s and 70s to run a pub.
Of his records some of his peak early-1960s period has been featured on Lightfoot at Lansdowne, a compilation by trad specialists Lake, with sides originally produced by Denis Preston, better known for his work with Joe Harriott, including ‘Tiger Rag’, ‘Bali Hai’ and ‘Old Man River’. Lightfoot continued performing until last year, with fairly recent shows of his including The Special Magic of Louis Armstrong, Hit Me With A Hot Note, and From Bourbon Street to Broadway along with the Jazzmen who in recent years were joined by his daughter Melinda who survives him, as does Lightfoot’s daughter Michele, and wife Iris.
Terry Lightfoot, above
Always a First Time
Pumpkin Records 2 CDs *** / ****
Recorded over a decade ago Change of Heart was saxophonist Martin Speake’s last big statement but it took a long while to appear, eventually emerging on ECM. Recorded with the late Paul Motian, Mick Hutton, and Bobo Stenson, that album was praised at the time for its Lee Konitz-type clarity and “unhurried” playing. Always a First Time, this new double album released on Speake’s own label, an imprint that two years ago released a quartet album called Live at Riverhouse, retains that palpable sense of patience, beginning at an almost stately pace. The Konitz connection is retained, not just in Speake’s sound but in the presence of former Konitz drummer Jeff Williams returning from the quartet. Speake also dedicates ‘Ramshackle’ to Konitz.
Williams appears in an up-front role throughout the 20 songs just like the other two musicians, with guitarist’s guitarist Mike Outram also performing a crucial function, colouring the sound especially on the Puccini aria ‘O Mio Babbino Caro’ (dedicated to Speake’s father, appropriately). Oddly you don’t miss the bass, but Outram’s skill has a lot to do with this as well as Williams’ ability to make the drums sing.
From the heart: Jeff Williams, above left,
Martin Speake and Mike Outram
The trio covers a great deal of ground only partially explained by the extra canvas the two CDs provide. With songs dedicated to friends, mentors and inspirations Always a First Time is predominantly ballad-driven, but it’s not particularly brooding. More philosophical, and on tracks such as ‘Twister’, on the second CD, there is also a sense of abandon that a quick first listen might not straight away fix on to but is definitely there.
In the notes the author of Love and Will, the existential psychologist Rollo May is quoted to the effect that the creative artist, poet and saint, must fight the gods of conformism, apathy, material success and exploitative power: formidable foes one and all yet May despairs that “These are the ‘idols’ of our society that are worshipped by multitudes of people.” Further quotes within the artwork contribute a sense of aphorism to Speake’s outlook as does his typically thoughtful, but skilfully non-conformist playing.
Recorded in the same room, unseparated, without headphones, the way records used to be made Speake says “we all played from the heart”. And you can tell this when a song like ‘Meditation’, which crops up on both discs with two different dedicatees one of whom includes Fidel Castro, dissolves (on the second disc) into a ‘listening silence’, when you just know the players like what they’re hearing and do not need to push the tune on any more than is strictly necessary in case the mood is spoiled. The second of the CDs has the edge, as it’s a bit more open, but the more orthodox ballad-and- cool school bop approach on the first disc, with songs that include Rodgers and Hart’s ‘Bewitched, Bothered and Bewildered’ and many fine Speake originals, have an integrity that is a hallmark of Always a First Time. As is its sense of the bigger picture.
Released on 25 March
Kenny Garrett: intimate appearances
It’s not easy to catch, live, the undisputed giants of the music up close and personal in a jazz club. When it happens it’s impossible to forget.
Herbie Hancock, Keith Jarrett, Sonny Rollins, Charles Lloyd, Wynton Marsalis, even, in your neighbourhood jazz club any time soon? Forget about it: it’s just not going to happen. But a kid can dream.
Well truth can be stranger and even more mind blowing than fiction sometimes, and last year one of the giants of the music alto saxophonist Kenny Garrett best known for his intuitive work with Miles Davis and for his own records made a welcome return to the UK playing a few jazz clubs rather than a concert hall.
And he returns to one of the clubs, the Pizza Express Jazz Club in London tonight for two shows after last night’s opener. Garrett is reunited with pianist Vernell Brown Jr., bassist Corcoran Holt, and drummer McClenty Hunter Jr. who played London last year slaying the crowd on one of the nights with the infectious ‘Happy People’ but adding percussionist Rudy Bird this week for even more heat.
On form in the studio, it’s just a year since the release of one of Garrett’s most memorably melodic albums to date, Seeds From The Underground, yet live there’s an additional rapid-fire spontaneity from the alto man, allied by Hunter’s Tony Williams-type attack that communicates immediately.
With his trademark skull cap, still youthful demeanour and playing style head-bobbing up and down, alto saxophone in the air, or down low to the ground, Garrett can deliver elegant runs of beautifully fluid improvising episodes with at times a Mali-meets-McCoy Tyner style bubbling up from pianist Brown on original material of the quality of ‘Boogety Boogety’. Not to be missed. MB
Kenny Garrett, above