Django Bates

Django Bates has won the jazz category at the Ivor Novello Awards. “I’m very pleased to announce,” he said via Twitter today, “that I have just received The Ivors Jazz Award. I love being part of the huge British jazz vista which stretches from Acker Bilk to Dudu Pukwana’s Zila, via Bex Burch’s Vula Viel. This is a serious moment for me and I'm genuinely touched.” The full list of winners is:

Best Song Musically And Lyrically – Ben Howard's Nica Libres At Dusk
Best Contemporary Song – The 1975's Love It If We Made
Album Award – Idles' Joy As An Act Of Resistance
Best Original Film Score – Jonny Greenwood's Phantom Thread
Best Television Soundtrack – Bat For Lashes and Dominik Scherrer's  Requiem
Songwriter of the Year – The 1975
PRS For Music Most Performed Work – Rudimental's These Days (ft. Jess Glynne, Macklemore & Dan Caplen)
Best Original Video Game Score – Robin Beanland's Sea Of Thieves
The Ivors Jazz Award – Django Bates
Inspiration Award – Wiley
Outstanding Song Collection – Dido
PRS For Music Outstanding Contribution to British Music – Richard Ashcroft
PRS For Music Special International Award – Mariah Carey
International Achievement – Deep Purple

 

Gods of Apollo is the debut album of saxophonist Rob Cope, now set for release in July by the Ubuntu label. The album uses archival NASA audio and travels from the first man made satellites. Check out Cope introducing his project, above.

HOPE springs eternal or in this case a switch of label and a CD/digital release after an initial LP outing a couple of years ago. Edition are putting the Loueke and Hays CD out in the late-summer.

I’ve been returning often to this lead-off track from a new Jeremy Udden album Three in Paris to be released by the Sunnyside label next month.

Saxophonist/composer Jeremy Udden is strongly influenced by the great saxophonist Steve Lacy whose tune ‘Who Needs It’ you can listen to above in a stirring sax/drums duo version that transports you back to a vivid freebop landscape that harnesses elements of bebop and free improvisation.

Udden studied under Lacy at the New England Conservatory and can be heard on the album with bassist Nicolas Moreaux and drummer John Betsch.

News of a new classical work by Wynton Marsalis adding to a burgeoning element of the trumpeter’s discography does not, and I am sure I am not alone among jazz fans in this feeling, make me as excited as the advent of a brand new jazz album by Wynton with a small group. Those days are rare now on record with Wynton mainly occupied gigging and recording with the Jazz at Lincoln Center Orchestra.

The new work featuring virtuoso violinist Nicola Benedetti is Violin Concerto And Fiddle Dance Suite, which will be released in 12 July. Two works were written especially for the Scot by Wynton with the Philadelphia Orchestra under the baton of Cristian Măcelaru featuring. 

• As previously noted Wynton Marsalis will return to the Barbican in London next year as he paints a symphonic portrait of New York City with The Jungle, performed by the London Symphony Orchestra conducted by Sir Simon Rattle.

 

Here’s keyboardist/composer Rebecca Nash on her band Atlas.

Their new record Peaceful King will be released in July by the Whirlwind label.

Dates coming up include Cardiff on 9 June, details are here

A LANDMARK recording. This solo piano album of Gwilym Simcock’s acts as his own dedication to players he loves and reveres (Billy Childs, Brad Mehldau, Egberto Gismonti, Russell Ferrante, etc) but also and just as significantly represents a one stop visit to the remarkable style and sound of this astonishing pianist’s artistry. Simcock has a big technique but that never gets in the way of his torrential flood of melodic ideas which often land never far from a rhapsody and at all times are delivered with tenderness and skill. Jazz does not get any better than this in 2019.

For their next album the Pablo Held trio, their label Edition has announced, will collaborate with Brazilian guitarist Nelson Veras. Held says: “We always enjoy the various ways another person inspires us, expands the possibilities of interaction and instrumentation, and actually makes us play differently. With Nelson, I’ve been listening to his music for years, his records The Solo Sessions Vol.1 and Rouge Sur Blanc are the two main albums I always go back to. He’s a complete musician with a totally unique way of playing, who obviously has roots in many different places, but branches out into the sky. When we first played with the trio he was more than ready to jump into the music! Even with only a super short rehearsal he totally made the music his own and showed us new ways to approach my compositions. Not by talking about it, by playing and going for it in the moment – I love that!”