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... Some Changes Made
Underneath the date above - 'November 2015' - there are some new links:
Album Reviews - will take you to our reviews, now grouped together rather than scattering them throughout the issue.
Ten New and Re-Releases - takes you straight to our ten selected new releases and to 'One From Ten' where we spend time on one of them.
Gig Listings - where you can go to our list of live jazz venues and our suggested 'Gig Picks' for the month.
Departure Lounge - Obituaries that have come to our notice over the past month.
Go on scrolling down the page for everything else (and you will eventually come to the Reviews, Releases and Gig Listings anyway). We hope these changes help - let us know what you think.
Entries Invited For Dankworth Jazz Composition Prize
The Dankworth Prizes - there are two - for Jazz Competition are administered by the Worshipful Company of Musicians. They have announced that that the 2016 prizes are now open for entries, with a closing date of 3rd December 2015.
Entrants must be aged 28 or under on the date that their entry is submitted. This year's judges are Denys Baptiste, Tim Garland and Nikki Iles who will see the scores submitted without knowing who has composed them.
Click here to download the application form and for more details.
BBC Music Jazz
'BBC Music Jazz’ is a programme that will run from 2.00 pm on 12th November to midnight on 15th November across DAB digital radio, online and via the iplayerradio app. This is the first pop up ‘collaboration’ between BBC Music and Jazz FM. To celebrate the launch, a vote has been taken by the stations involved to get listeners to name 'the 50 Great Jazz artists Of All Time'. The final results will be revealed in a show called The 50 Greatest Jazz Artists presented by BBC Radio 3 presenter Geoffrey Smith and guest presenter, Jazz FM’s Helen Mayhew between 12th – 15th November at 4pm each day
The temporary service is a collaboration between BBC Radio, Jazz FM and the EFG London Jazz Festival. It is the first time BBC Radio stations will have worked in collaboration with Jazz FM to offer audiences a one-stop shop for jazz music. Alan Davey, Controller of BBC Radio 3, says: “BBC Radio 3 has always had dedicated jazz strands and comprehensive live coverage of the EFG London Jazz Festival thanks to our collaboration with Serious. But all of us who love jazz must think what greater things we can all do together when it comes to reaching and serving audiences. That’s why I’m so proud to be working closely with Jazz FM, Serious and our sister BBC radio stations to give listeners such a unique digital Jazz offer that will, I hope, introduce new audiences to the wonders of jazz and remind existing fans of the great things available across the BBC and from our friends at Jazz FM - as well as the great talent on display at the EFG London Jazz Festival.”
Click here for more information.
100% Proof: The Complete Tubby Hayes Discography
Earlier this year, Simon Spillett published his biography of saxophonist Tubby Hayes - The Long Shadow of the Little Giant - The Life, Work and Legacy of Tubby Hayes (click here). We shall be featuring the book in more detail in next month's issue.
Simon must be one of the most knowledgeable people in the world on the subject of Tubby Hayes. Now, to accompany the Long Shadow book, Simon and Canadian discographer Tom Davis have collaborated to produce a new 240 page volume covering sessions for commercial album release, radio broadcasts, television appearances and private recordings made between 1951 and 1973. It also includes an overview of Tubby Hayes's film soundtrack work.
Intergenerational Jazz Reminiscence Project
The National Jazz Archive, based in Loughton, Essex, has been awarded £83,300 by the Heritage Lottery Fund (HLF) for the Intergenerational Jazz Reminiscence Project, which will begin in January 2016. The project will give people the opportunity to learn about and contribute to the National Jazz Archive through a programme of performance, oral history and reminiscence. It will explore how different generations have promoted, performed, supported, and documented our jazz heritage. Using materials from the Archive and from other local sources, the project will inspire members of Age UK Activity Centres, local jazz clubs, local youth groups and young jazz musicians to share and discuss what music has meant and still means in their lives.
Recorded music will be a part of the workshops, with live music by young musicians at some of them. Interviews with older jazz musicians, jazz club promoters and supporters will form a permanent record of anecdotal jazz history. The project will work with the Black Cultural Archives to encourage participation from the older black, Asian, and minority ethnic communities, including local musicians associated with these communities. Loughton Youth Project will participate in and film the sessions.
The interviews and memories collected by the project will be made available on the Archive’s website and will contribute to an exhibition celebrating the people and places that have shaped jazz music across the UK. The National Jazz Archive will be leading the project, and will work in partnership with other specialist organisations to deliver it: Age UK, Black Cultural Archives, Chelmsford Museums Service, Essex University, Loughton Youth Project, the Open University, and local jazz clubs. Click here for more information.
The founder and lifelong patron of the Archive, jazz trumpeter, author and broadcaster Digby Fairweather, said: “I’m delighted that the Archive is continuing to extend its work through this exciting project, which will record and capture so many personal recollections and stories. It’s very pleasing that so many levels of expertise and skills will be involved, with participants from young to old.”
Ian Shaw's The Theory Of Joy
During a gig at London's excellent 606 Jazz Club in Chelsea during October, singer Ian Shaw announced that his next album, The Theory Of Joy, is due out on the Jazz Village label next February. Ian's 2012 album of Fran Landesman's songs A Ghost In Every Bar remains one of my favourite albums and this next album promises much. During the 606 gig, Ian sang one of his own compositions, My Brother, from the album and if that is the standard of what we can expect, it should be good. The Theory of Joy will include numbers such as Joni Mitchell's In France They Kiss On Main Street, Fran Landesman's Small Day Tomorrow (wonderful on the 2012 album), and David Bowie's Where Are They Now.
The 606 Club gig featured two great sets from Ian Shaw with impressive pianist Jamie Safiruddin and formidable trumpeter Miguel Gorodi. The new album will see Ian in the company of Barry Green (piano), Mick Hutton (bass) and Dave Ohm (drums). The album is due out on 12th February 2016, but Ian said that towards the end of November, a track from the album should be available. We shall cover this on our Facebook page and in our next issue if we spot it.
[Click here to go to another page on our website where you can read this article and listen to the music without leaving the page. Alternatively there are links to the music on YouTube etc. in the article below].
Sam Freeman photograph by Maria Krykov
It is thought that the bass trombone first came into any significant position in a big band when Stan Kenton hired Bart Varsalona. Bart came into the band as a tenor trombone player but in an article in the International Trombone Association’s Journal, The Trombones In The Orchestras Of Stan Kenton, Paul Bauer says that apparently Bart was on tour with the band in San Francisco when he saw a bass trombone in a shop window. ‘I had an idea,’ Bart said. ‘The band was playing a lot of heavy bottom. I went in and tried it out. It felt pretty comfortable and the price was right. I picked it up, and brought it in on the job that night. [Kenton] saw the difference immediately. He said: “Great, keep it”’. So it is possible that the bass trombone was first used in a big band, Kenton’s, in 1943.
Click here to watch a ‘Soundie’ of the Kenton Orchestra circa 1945 playing Southern Scandal with the double bass, baritone sax and bass trombone (probably Bart Varsalona) lined up one behind the other.
Sam Freeman remembers hearing the 1959 album that perhaps most highlights George Roberts’s instrument, Meet Mr Roberts. Click here to listen to My Romance from the album.
Sam Freeman plays bass trombone, contrabass trombone and sackbutt. Much of his work is with classical orchestras – the BBC Concert Orchestra, BBC Symphony Orchestra, Philarmonia Orchestra, English National Opera (to name but a few) – but he also plays bass trombone in the London City Big Band, Pandora’s Jukebox, the Diamond Skyline Orchestra and for West End shows. Sam and his older brother, Dougie (an excellent jazz pianist), grew up in Nottinghamshire. Their father was a piano teacher, taking students for classical music lessons but with a love for Boogie Woogie.
‘There was plenty of music around at home,’ says Sam. ‘Mum sang, but not professionally, and Dougie started to play the piano early. The changes came when we moved to join the Southwell Minster choir. I think it was there that I first became really aware of harmony. The choir members were offered the opportunity of free instrument lessons and I chose the trombone. We were both very lucky that our state secondary school was very encouraging of music. There were lots of opportunities around and as a by-product of the Minster choir, there were a lot of good young musicians.
In time we began playing with local bands and orchestras; Dougie and I formed a rock band playing all genres (including Ska), and when I was around fourteen or fifteen I played my first paid gig with the Henley Farrell Big Band (now the Tony Farrell Big Band). Dance nights were very popular there in the 2000s. I also played in a Nottingham youth big band called ‘The Brassery’ with which we toured to the Edinburgh Festival Fringe. I joined the county wind bands, orchestras, Nottingham Youth Orchestra, and extended my big band playing to depping in the Stapleford Big Band and occasionally Nottingham Jazz Orchestra’
As well as playing in the Nottingham Youth Orchestra, Sam continued to sing in the choir as a bass once his voice had broken. He believes that his choir work influenced his decision to get a bass trombone. ‘It is something about the depth of sound,’ he says. ‘The bass sound is very important, it fills out the music, it tunes in to feeling different colours. In a classical orchestra the bass trombone and tuba are akin to singing bass in a choir.’
In 2008, Sam went to the Royal Academy of Music on a full scholarship and then with a Leverhulme Scholarship, continued at the Academy until 2013. Along the way he won a Mark Elliott Scholarship, the Christopher Horn Award, awards from the Wolfson Fund and the Craxton Memorial Fund and a Highly Commended award at the RAM’s John Soloman Prize.
Sam and Dougie both play regularly with the excellent London City Big Band at the Spice Of Life in London. Click here for the band playing September In the Rain.
The London City Big Band charts invariably have arrangements that include the bass trombone, although in the past, big band arrangements have not always recognised the bass trombone part. ‘Many charts are based on established big band arrangements where the bass trombone is written for, and when band members write arrangements, the bass trombone is usually included pretty much as standard these days,’ continues Sam. ‘There are times when I will improvise, adding lower harmony points rather than playing solos, but arrangers now usually see the bass trombone as another facilitator of harmony. Adrian Drover who played with the Maynard Ferguson Orchestra in the 1970s is a great example as an arranger. He plays with a number of bands including the Scottish National Jazz Orchestra and the Glasgow chapter of the British Trombone Society Trombone Ensemble. He also guests with the BBC Radio Big Band as composer/director.’
In discussing style, the bass trombone has been described as a ‘bull’ sound (Varsalona) or ‘velvet range’ (Roberts). Sam says it depends on what is needed at the time. ‘You can play either ‘bull’ or ‘velvet’. Like the lead trumpet knows when to ‘go for it’, the bass trombone can either play ‘bull’, or with clarity and ‘velvet’, but for me, the bass trombone is primarily an ensemble instrument. I am not really interested in playing solos on it. It can add a very different sound to a band, especially when you have a lead trumpet right at the top of the texture and the bass trombone highlighting the very bottom.'
'I’m not great at recalling examples, but I had the chance to dep in on the rehearsal for the Bobby Shew Concert at Ronnie’s and managed to grab a ticket for the gig – his feature Always and Forever is a great example of this underpinning. Perhaps a slightly better known example would be Quincy Jones' Soul Bossa Nova, which really features the bass trombone, not only in the opening solo but throughout, juxtaposing it against the high trumpets.’
‘Look at how some bands have used the bass trombone,’ says Sam. ‘Take the tune Alone Together on the album Ella Swings Brightly with Nelson Riddle. Riddle starts with the reeds and trumpets and then uses the bass trombone to ease in to Ella’s vocal. It is almost like using different voices' (click here).
'Or my favourite ever big band tune I’ve Got You Under My Skin, with the incredible trombone solo in the middle, started by the solo bass trombone. If you listen carefully to the music of the great arrangers, when they decide to step it up a gear, they will often shift the bass trombone down an octave to increase the depth which adds to the excitement.’ Click here for Frank Sinatra singing I've Got You Under My Skin with the Nelson Riddle Orchestra from the album Songs For Swinging Lovers.
Click here for a video of Sam playing with the Diamond Skyline Orchestra including several members of the London City Big Band.
For many listeners, the bass trombone might well go unnoticed on a big band recording – but listen carefully, you would notice if it were not there!
Simon Spillett (saxophone, bandleader, author)
Simon: These days it's Herbal Tea.
Hob Nob, Bourbon, Garibaldi or digestive biscuit?
Simon: I've always been partial to a Garibaldi...
Tubby Hayes, Joe Henderson or Pharoah Sanders?
Simon: And I thought choosing the biscuits was hard .... I've listened a lot to all three; Joe Henderson is among my favourites (Inner Urge is one of greatest sax-led quartet albums ever) and I've been a Pharoah fan since hearing Upper and Lower Eygpt when I was about 18. I had just joined a rock band and the guitarist played me a tape of "this sax player....he's mental!" It was Pharoah. As for Tubby, he was and always will be the guv'nor for me.
Milk and sugar?
Simon: Neither. I'm on a health kick.
What gigs have you played recently?
Simon: I had a busy September. Clark Tracey and I debuted our Big Band Britannia show, featuring Tubby and Stan Tracey's music, at the Herts Jazz Festival; the Quartet with John Critchinson, Alec Dankworth, Clark and myself played a small festival in Maidenhead and I did a couple of Quintet gigs with Art Themen and Peter King. On top of that, there were a string of solo dates.
What have you got coming up in November and December?
Simon: My quartet are playing Ronnie's on November 1st, playing Tubby's music. Then on November 19th we're appearing at the launch of the new documentary film Tubby Hayes: A Man in a Hurry at Ray's Jazz in Foyles, Charing Cross Road.
Who else have you heard recently that we should listen out for?
Simon: Two great young drummers, Billy Weir and Mark Hale. Also, trumpeter Jack Kendon, He's a great player and runs what is to my mind one of the best jazz gigs anywhere, the Bristol Bar in Brighton.
Simon: Just this once....
[Described by the late Humphrey Lyttelton as "formidable," Simon Spillett is a British jazz saxophonist who leads his own quartet featuring John Critchinson (piano), Alec Dankworth (bass) and Clark Tracey (drums). He has won several awards for his music, including the tenor saxophone category of the British Jazz Awards (2011), Jazz Journal magazine's Critic's Choice CD of the Year (2009) and Rising Star in the BBC Jazz Awards (2007). Simon is also the author of The Long Shadow Of The Little Giant (2015): The Life, Work and Legacy of Tubby Hayes. Click here for details of and to sample the album Introducing Simon Spillett. Click here for Simon's website].
EFG London Jazz Festival 2015
November heralds this year's EFG London Jazz Festival which runs for ten days from 13th - 22nd November. Some of the many highlights include the banjo duo Béla Fleck and Abigail Washburn with their bluegrass-infused jazz, Nik Bärtsch's residency at King’s Place with his programme of zen-funk, marrying contemporary classical, Japanese ritual music and funk (part of the venue's Minimalism Unwrapped) and the Hidden Orchestra with a site-specific set at St John-at-Hackney, fusing their atmospheric sound with projection-mapped visuals.
Many other venues are involved spanning from the Barbican, the Royal Festival Hall and Ronnie Scott’s, to Cafe Oto (Dalston), Rich Mix (Bethnal Green) and Green Note (Camden) - and that's just a few. As for who is playing, the list is long, including: Andy Sheppard, Arild Andersen, Average White Band,& Kokomo, Béla Fleck and Abigail Washburn, Cassandra Wilson, Cécile McLorin Salvant, Dave Holland, Hiromi, Ice-T, James Farm, Jamie Cullum, Jarrod Lawson, Keith Jarrett, Kurt Elling, Maria Schneider, Melody Gardot, Phronesis, Terence Blanchard and many more.
Click here for the Festival website where the full programme is available.
London Jazz Festival For Children
Every jazz fan remembers their first gig... The one that sparked a lifelong love of the music. At the EFG London Festival, they are passionate about introducing youngsters to jazz, so there will be anumber of Family Friendly events taking place, such as:
Family Sing with Emilia Mårtensson - Wigmore Hall - Saturday 14th November - 10.30 am. and 2.30 pm.
Chapter 100 and a Dream; Emilia Mårtensson, Adriano Adewale, Janez Dovč- Wigmore Hall - Saturday 14th November - 1.00 pm.
Nick Tomalin's Molly And The Owl - a jazz fairy tale with a live band - London Cockpit - Saturday, 14th November - 2.00 pm.
Family Jazz All-Stars featuring Juliet Kelly - Artsdepot - Sunday, 15th November - 11.00 am. and 2.00 pm.
Adriano Adewale: Catapluf’s Musical Journey - Albany - Sunday 15th November - 1.00 pm. and 3.00 pm.
Jazz for Toddlers - Rich Mix - Tuesday 17th November - 11.00 am. and 1.30 pm.
Groove Baby presents Phil Stevenson’s Root Down - Southbank Centre / Level 5 Function Room - Wednesday 18th November - 10.30 am.
Adriano Adewale - Within The Waves - Cecil Sharp House - Thursday 19th November - 7.00 pm and 9.00 pm.
Jazz for Toddlers - Southbank Centre / Level 5 Function Room - Friday 20th November - 11.00 am. and 1.30 pm.
Family Jazz All-Stars featuring Juliet Kelly - Cadogan Hall - Saturday 21st November - 2.00 pm.Jazz for Toddlers - Discover Centre - Saturday 21st November - 2.30 pm.
These events get booked quite quickly, so if you are interested, click here for details and to book.
You Suggest : Earl Bostic
We have had a number of suggestions to remember saxophonist Earl Bostic. On our page about Wood Green Jazz Club (click here), Peter Pohl says: 'The record played most times during the intervals must have been Earl Bostic's 'Flamingo'. I can't hear that number now without being taken back to those great days at WGJC!'
Click here for a video of dancers raving to Earl Bostic playing Artie Shaw's Special Delivery Stomp.
Earl Bostic (that was his name, he was not one of the 'Jazz Royalty' - Duke Ellington, King Oliver, etc.) was born in Tulsa, Oklahoma in 1912. He joined Terence Holder's "Twelve Clouds of Joy" at eighteen. He graduated from Xavier University in New Orleans, played the riverboats with Fate Marable, and with other bands including those of Hot Lips Page, Rex Stewart, Don Byas, Charlie Christian and Cab Calloway. He made his first recordings with Lionel Hampton at the age of 27.
During the 1940s, Earl Bostic formed his own band and made recordings on the Majestic label. His biggest ‘hit’ was his signature tune Flamingo, but others became popular – Temptation, You Go To My Head, Cherokee ...
Click here to listen to Flamingo.
At various times, a number of famous jazz musicians played in his band – Benny Carter, John Coltrane, Benny Golson, Sir Charles Thompson, Stanley Turrentine, to name but a few.
Click here to listen to Up There In Orbit .
His album Jazz As I Feel It featured Shelly Manne (drums), Joe Pass (guitar) and Richard Holmes (organ). The recording enabled Bostic to extend the three-minute limit imposed by the 45 RPM format. Click here to sample the album.
It is said that Earl Bostic was influenced by Sidney Bechet and (according to James Moody) John Coltrane was in turn influenced by Bostic. Coltrane told Down Beat magazine in 1960 that Bostic "showed me a lot of things on my horn. He has fabulous technical facilities on his instrument and knows many a trick." Moody mentioned that "Bostic knew his instrument inside out, back to front and upside down." It is also suggested that 'If one listens carefully to Bostic's fabulous stop time choruses and his extended solo work, the roots of Coltrane's "sheets of sound" become clear.'
As for his jamming, the story is that he was well able to hold his own against Charlie Parker: 'The alto saxophonist Sweet Papa Lou Donaldson recalled seeing Parker get burned by Bostic during one such jam session at Minton's. Donaldson said that Bostic "was the greatest saxophone player I ever knew. Bostic was down at Minton's and Charlie Parker came in there. They played "Sweet Georgia Brown" or something and he gave Charlie Parker a saxophone lesson. Now you'd see him, we'd run up there and think that we're going to blow him out, and he'd make you look like a fool. Cause he'd play three octaves, louder, stronger and faster." Art Blakey remarked that "Nobody knew more about the saxophone than Bostic, I mean technically, and that includes Bird. Working with Bostic was like attending a university of the saxophone".
Earl Bostic died October 28, 1965 from a heart attack in New York while performing with his band.
Click here to read more about Earl Bostic.
Click here to read articles about other musicians in our You Suggest series
[The idea behind our Full Focus series is to let the reader listen to a track from an album at the same time as reading the concepts behind the track as seen by the composer and the musicians involved. You are able to listen to the music at the same time as reading this article and without leaving the page if you click here. This will take you to the article on another page on our website where your computer might ask you to allow the music to play on the page. Alternatively there are links to the music on YouTube etc. in the article below].
Saxophonist Tori Freestone released her debut album In The Chophouse on Whirlwind Records in 2014. It is a well-considered piece of work with several compositions by Tori as well as two 'standards' - Joni Mitchell's Both Sides Now and Gershwin's But Not For Me. When I say well-considered, I mean that the album has variety, imagination and showcases Tori's talents as a musician and arranger. Take But Not For Me. Introduced by Dave Manington's bass and Tim Giles's rolling drums, Tori takes it very slowly, in short phrases, before improvising lyrically around the melody before handing over to Dave for a bass solo while Tori's sax adds comments beside him until an understated drum solo leads to the conclusion. An unusual but enjoyable arrangement. Tori's composition the expressive and joyful Mrs PC follows and is also worth a listen if you want to explore the album.
But my favourite track is a combination of two tunes, the traditional My Lagan Love which leads into Tori's In The Chophouse. This is the track that Tori tells us about here:
My Lagan Love is a traditional Irish air from north Donegal collected in the early twentieth century by Joseph Campbell from Belfast who collected traditional songs with composer Herbert Hughes. Apparently, while on holiday in Donegal, Hughes had learned the air from Proinseas mac Suibhne, who had learned it from his father Seaghan mac Suibhne, who in turn had learned it fifty years previously. It seems that the Lagan referred to in the title probably refers to an area of fertile farming land between Donegal and Derry known in Irish as An Lagán. The Lagan is also the river that runs through Belfast. However, some argue that the Lagan in the song refers to a stream that empties into Lough Swillyin County Donegal, not far from where Herbert Hughes collected the song.
I felt the tune was a perfect intro to lead into the title track of the album In The Chophouse, which I'd actually started composing many years ago when I was at college but had never quite got around to finishing it. Most of the writing for this current album took place after my involvement in the Manchester Jazz Festival's 2010 'Surroundings' project' which was a large ensemble project led by trumpeter/composer Neil Yates. Having the opportunity to renew old collaborations with so many great musicians on this project plus Neil's beautiful folk infused writing, inspired me to set up the trio and particularly to go back to my folk roots and infuse my own compositions with this flavour.
I wrote In The Chop House when I got back from the festival as the experience of working with Neil and playing his beautiful compositions gave me the confidence to revisit some of my unfinished compositions and ideas in this way. It's very folk influenced with it's 9/8 feel (like a slip jig) and simple melody, although harmonically it involves a more complex jazz structure. The piece is named after 'Mr Thomas's Chop House' the Victorian pub in Manchester near St Ann's Square where the band would congregate after a day of rehearsals (the front cover of the album features a painting entitled 'Thomas's Chop House' by a Manchester based artist, Liz Taylor-Webb, a mentee of Lowry too). In fact, most of the writing for the album occurred after the festival.
I’d been playing with Dave Manington and Tim Giles since meeting them at college in many different ensembles and formats, and as well as being great friends, we’d always had a strong musical rapport knowing each other’s playing inside out after so many years. With this strong basis, it has been possible to use the material as a springboard to explore the open quality that the sparser format provides. This line up and repertoire gives us an opportunity to push at the boundaries, playing openly and freely whilst having the knowledge that we can rely on each other for some solidity and grounding at any given point.
Click here to listen to My Lagan Love - In The Chophouse.
The arrangement of My Lagan Love uses a pedal to reflect the sound of a drone as I wanted to keep the sound true to the folk nuances of the original but I also added in a few snippets of contemporary jazz harmony later in the piece. This folk ballad then segues into In the Chophouse, which originally had been a variation I had written on My Lagan Love but had gradually mutated into a different tune with a more contemporary jazz sound, so I thought it fitting that the two went together in this manner on the album.
Dave plays a lovely open cadenza marrying the two tunes up seamlessly. Dave has been brought up on folk music too and is very influenced by it, and he plays really beautifully on both tunes. I love Tim's open approach on this type of material as well and his textural approach and ability to play with extremes of dynamics really lends itself to this genre.
On both tunes I use false fingerings on the sax to give the effect of slides reflecting the approach I'd have when playing folk tunes on penny whistle and I also use a lot of ornamentation such as rolls and cuts (again techniques I'd use when playing in the folk genre on violin or whistle) which hopefully infuses the two tunes with a traditional folk sound.
Since the album we've had the opportunity to play all over the UK and at festivals at home and abroad including the Manchester Jazz Festival and Sudtirol Jazz Festival in Italy. This has given us the opportunity to really develop the repertoire and the way we interact as a trio. I was also commissioned to write a new work for the trio for the London Jazz Festival in 2014 which premiered at the Purcell Rooms. This is based on a sea shanty called The Press Gang which is very special to me as sea shanties were a big part of the repertoire in the folk clubs all those years back (my family on my father's side all worked on the river Thames going right back to the 1700s and being a musical family, a lot of these traditional tunes had been passed down through the generations).
Tori Freestone Trio
The new work is going to feature on the next album which I'll be recording for the Whirlwind label in November 2015 and I'm extremely excited about this. The trio have developed so much since the first album and the new repertoire is really coming together too. It's been a musically inspiring journey since that week in the Chophouse with the trio and also with some of the other fantastic ensembles and musicians I've been lucky enough to record and tour with and I feel extremely privileged to be on this journey with so many inspiring artists.
Click here for Tori Freestone's website.
Jazz Services Becomes JazzUK
Readers might remember the disappointing news that the UK's support organisation, Jazz Services, was forced to stop its operation in April of this year when Arts Council funding was withdrawn. The news was particularly harsh for bands and venues who had benefitted from the organisation's support. A review of the organisation has taken place and it is now relaunching under the name of its former magazine, JazzUK.
Dominic McGonigal is the new chair of the JazzUK, and the vice-chair is James Joseph. Ivor Widdison and Brian Blain continue from the previous administration together with AIR PR's Sheila Bates, treasurer Peter Baillie. Project director Heulwen Phillips has already raised over £150,000 in funding with other bids in process.
Their first supported project is the #4Jazz Festival in Coventry this month (see gigs below) and a new website i sin the process of being developed at www.jazzuk.org.uk. You can see their aims there which include 'Our mission is to facilitate those who play jazz to entertain those who love to listen, and to encourage the next generation to fall in love with jazz.'
Andrew Linham (saxophonist, bandleader, composer, educationalist)
Hi Andrew, tea or coffee?
Andrew: Well as a general rule I don’t drink tea or coffee unless I’m in a foreign country, so I usually opt for strawberry milkshake before twelve. After twelve perhaps ribena or coca cola and after 6 wine normally is the winner. Unless I’m the designated driver, in which case more coca cola.
Hob Nob, Bourbon, Garibaldi or digestive biscuit?
Andrew: I do love a bourbon! Though I often hit the chocolate festival hard at elevenses time with a mid morning twirl (both the chocolate bar and a spin). If you find Jaffa Cakes or Percy Pigs, you know that your day is going to be great!
Harry Carney, Gerry Mulligan or Ronnie Ross?
Andrew: In typical Linham fashion I can’t give a straight answer so will, in my humble opinion, go one better, with Pepper Adams. Or Ronnie Cuber. Now I just feel like I’m having to pick between loved ones to save from a sinking ship. I love them all! [Click here for Ronnie Cuber playing baritone sax on Charles Mingus's Moanin' recording].
Milk and sugar?
Andrew: Milk and sugar in a strawberry milkshake is essential. As is ice cream. Oh, and those hundreds of thousands.
Andrew: Well I recently premiered a new ensemble of mine, The Andrew Linham Swing Thing at the Queens Theatre, Hornchurch. I forget how wonderful it is when jazz is put on a proper stage rather than some dimly lit back alley. The concert hall setting really makes for a different kind of performance with a different audience interaction. I’ve also enjoyed being back with MIMIKA and London City Big Band in their residencies at the Spice of Life, as those two bands are fantastic at two very different things!
What have you got coming up in November / December?
Andrew: On Sunday 15th November my big band the Andrew Linham Jazz Orchestra will be hitting the Spice of Life hard in the evening to present some brand new music 'The Theme of Anarchic Animals’ featuring a mad cohort of musicians. I will also tell a story about a imaginary woman called Big Bertha. It is going to be such good fun. Also in the afternoon of the same day, MIMIKA Mak Murtic Ensemble are performing so you can come for a whole day of jazz with me in it. Or me innit, for those who speak slang. And yes, I will tell more terrible jokes.
Click on the poster for a larger image.
[Click here to listen to the Andrew Linham Jazz Orchestra playing I Arsque You This]
Who else have you heard recently that we should listen out for?
Andrew: There’s a couple of people I’ve been watching recently - Phaze Theory are sounding fantastic, Jamie Leeming’s band were sound great the other day, VLookup Trio has making some amazing sonic soundscapes and they are really underrated. As for CD listening, I’ve been enjoying the new Loose Tubes album and Phil Meadow’s Lifecycles CD is currently in the car. Well, alongside the best of Disney and Kenneth Williams as Rambling Syd Rumpo. Hysterically funny bawdy comedy combined with uber cheesy musicals and mad modern jazz. Probably a fair summary of my listening tastes.
Andrew: Oooh, It’d be rude not to. But if you eat too many your Doctor will tell you to bis-quit.
The Party's Over - But Who Are The Band?
Geoff Leonard writes:
'The film, The Party's Over, released in 1965 but filmed in '62/3 has a score by John Barry, including a song over the credits sung by Annie Ross, but some of the source music doesn't sound like his style.
Stanley Myers and Tony Kinsey are rumoured to have been involved in the music for some party scenes, but I'm also interested in a scene in a jazz-club (set in The Crypt in Redcliffe Gardens, London SW10) which begins at approx 1 hour 15 minutes into the film and lasts on and off for about 10-15 minutes.
I'm fairly sure the singer, played by Ann Lynn, is miming, but does anybody recognise the musicians/band, who appear to be genuine?
The entire film is on YouTube (click here). I'm hoping you can include this query in the forum in a future edition of Sandy Brown Jazz, because I know you have some very intelligent readers!'
Click here for other details about the film.
Harry Randall writes:
'In the 1950s I was a semi-pro bass player. I played mostly with the Joe Morris Quintet in East London. We often went to the Ilford Palace dance hall (part of the Mecca circuit) where we would see some great guest bands. For a while Bert Quarmby was resident band and we got to know all the members of the band. As far as I can remember Bert on trombone; June Robinson, trumpet and vocal; Harry Miller, drums and vocal; Bill Samuels bass, who, incidently used to give me bass lessons. One Sunday whilst our quintet was rehearsing Harry turned up and said to me "This is your chance to turn pro!" He said that Bill had fallen ill with malaria which he contracted while he was in Malaya with the army and sometimes it re-occurred. As I knew a lot of the arrangements Harry had arranged for me to deputize for Bill. I was with the band for a month or two - it was a great experience.
I recently tried to trace members of the band and what they did subsequently. Leslie Garbutt's news about her father and Harry Miller was very interesting (click here). Does anyone know anything about Bill Samuels - bass? I can't find mention of him anywhere.'
The Dancing Slipper, Nottingham
Lynne Clifford (nee Hodgkinson) remembers the Dancing Slipper
'I have just come across your website and the Dancing Slipper page (click here) and it brings back memories of Friday night at this venue with all my girl friends. I never went on a saturday night for the jazz, I was probably too young, but I do remember seeing Herman's Hermits one Friday night around 1965. Happy Memories.'
('Something tells me she was into something good')
Prince Albert, Chingford
David Gent writes:
'I am grateful to Mike Durrell for the further information on the Prince Albert in Chingford (the Prince Albert is mentioned on our Cooks Ferry Inn page click here), and for reminding me that the pianist was Rex Cull, not Rex Kyle as I misremembered (it was a long time ago). The pub was still going in the early 70s but the Wednesday jam sessions were replaced by a disco, which itself was enlivened by numerous fights.
Derek Lane-Smith, Steve Lane's cousin, writes:
'Thanks so much for your profile of Steve Lane (click here). I am his cousin, and spoke first at the funeral. I also made several audio recordings, of the service itself and of various conversations afterwards, there at the crematorium and later at the Fox and Goose.
These are accessible if people would like to listen to them (click here). Also there are one or two videos, including the funeral procession, a most interesting letter written to me by Steve in 2001 and high fidelity transcriptions of a couple of master tapes recorded by Steve. There was a treasure trove of these master tapes, of which I was offered two to see if I could get them digitized (which I did, by The Great Bear. Unfortunately, while that was being done, there was some pretty heavy rain in Kenton and, apparently, the contents of Steve’ garage, including the remainder of those tapes, were soaked. Without my knowledge, the lot was trashed. Truly a tragedy. Anyway, there are those two left. One is a 1987 recording session with, I guess, Red Hot Peppers and the other a session with Duke Ellington. You can download them in any of three different levels of fidelity.
Steve Lane's LPs
Richard Thomas has come across some LPs that used to belong to Steve Lane who sadly passed through the Departure Lounge this year (click here for our page on Steve Lane):
'In a charity shop in North London a few months ago I came across a small collection of jazz LPs, all with hand-written numbers stuck to the top left of the sleeve and some with printed labels giving an address in Kenton Lane, Harrow, and (on a few of them) the name Steve Lane. Closer inspection revealed recordings by Steve Lane's own bands, along with re-issues of recordings by high profile names such as Duke Ellington, Jack Teagarden and Fletcher Henderson, and more obscure (to me at least) names including Maggie's Blue Five from Sweden, and John Deffray's Creole Jazzband, from Chatham.
One of my favourites is a 1974 Retrieval label collection of recordings made in London in 1927 by Charles Remue and his New Stompers Orchestra, described in the notes as "the first jazz recordings known to have been made by an exclusively Belgian unit."
I will probably go and take a look sometime at the house that was the home of Steve Lane and his records, and give thanks for the man and his music.
Colin Symons and Pam Heagren
'I was interested to see a mention of the singer Pam Heagren last month (see our page on Steve Lane - click here). I worked with her quite regularly in the early-to-mid '70s in the Colin Symons band,' writes pianist Jamie Evans. 'This picture shows Pam and myself (circa 1973), possibly chatting after doing our regular voice/piano feature, "Crazy 'bout My Baby". I can't speak for Pam but I very much enjoyed those duets, as I am sure did the rest of the band who always seized the opportunity to quench their thirsts at the nearest outlet. Incidentally Pam rarely partook and the pint on the piano lid is mine not hers!
The Symons band was relatively successful and had a broad repertoire which went well beyond the trad/dixieland genre. Although the personnel was not entirely top-level, Colin always used trumpet players of the highest calibre including Alan Wickham, Ray Crane, Geoff Brown and Nick Stevenson.
Jamie Evans and Pam Heagren
I always got on well with Colin who was an engaging and charming man and not a bad drummer either. Inevitably we fell out big-time at one point but made up later, I am pleased to say. I heard many years after I lost touch with him that he had died young and try as I might I can't find any information relating to him. If anyone can add any facts or even hearsay I would love to hear from them.'
Carol Lowther writes: 'I saw your thread on Neil (on our Information page) and remember him playing with my Dad, Roy 'Dace' Allen, at the Half Moon Putney. My Dad was in touch with Neil and visited him in Amsterdam. Roy is now living in North Yorkshire, still playing two hours a day (the neighbours love him), records tracks with a garage band and has just taken up playing the piano. Not bad for an 86 year old Snap Syncopator!'
Thank you to those people who have liked our Sandy Brown Jazz Facebook page and who have commented on posts. I hope that you have found the items there of interest. Using Facebook gives us a chance to share information that arrives between issues of What's New Magazine. If you do visit our Facebook page, please Like us and Share us with your friends. (If you are not on Facebook, please tell your friends about us anyway!).
Two Ears, Three Eyes
George Trebar's Rhythme Futur
On 15th September, photographer Brian O'Connor and his camera were at the Birley Centre, Eastbourne College for a gig by George Trebar's Rhythme Futur. Featuring George Trebar (bass), Nils Solberg (guitar), Ducato Piotrowski (guitar), Adrian Cox (clarinet, sax, and a vocal) and Matt Holborn (violin).
The band is named after the tune by Django Reinhardtand, and as you might expect, their playlist reflects the music of the Hot Club of France. Brian says: 'Gypsy jazz and familar tunes (Honeysuckle Rose, etc.) beautifully played over two sets more than satisfied the audience.'
Click here to listen to Django Reinhardt playing Rhythm(e) Futur.
George Trebar studied classical double bass under Catherine Eliot and jazz bass under Simon Woolf. He has recently completed studying for a Masters in Jazz Performance at Trinity Conservatoire, London. He is involved in a number of projects playing with the Nighthawks Quartet, Sue Richardson's Quintet and the Adrian Cox Quartet. With his Swing Combo, 'Rythme Futur' - he creates arrangements of classic jazz repertoire especially the cross over between swing and be-bop.
Click here for a collation of video extracts of the band in performance from 2012 with a slightly different line up and Julie Mckee on vocals playing a selection from their album Yesterdays.
Nils Solberg and Ducato Pietrowksi
Rythme Futur started in 2000 when violinist Barrington Meyer and George Trebar met. They shared a common love for the hot music of players like Django and they soon became part of the London swing scene, playing regularly at the National Theatre, Le Quecumbar, Café Royal, Bloomsbury Theatre, Spice of Life, Underground Theatre, and many other venues.
All photographs except the album cover © Brian O'Connor.
Information has arrived about the following musicians or people connected to jazz who have passed through the 'Departure Lounge' since our last update. Click on their names to read their obituaries where we have them:
Coleridge Goode - Named after composer Samuel Coleridge-Taylor, the bass player Coleridge Goode was born in Jamaica. He played on Django Reinhardt's Belleville, and soon established on the British jazz scene, went on to play with George Shearing, Joe Harriott and others. In 2011 he was honoured at the All-Party Parliamentary Jazz Appreciation Group’s awards for 'services to jazz', and in 2014 he celebrated his 100th birthday at a special performance organised for him at the London Jazz Festival.
Click here for Coleridge Goode playing a version of The Lord's Prayer with Michael Garrick and others.
Mark Murphy - Born in Syracuse, New York, Mark Murphy became one of the influential jazz vocalists of the twentieth century. From 1963 to 1972 he was based in London singing in nightclubs, and on returning to the USA, began recording for the Muse label. During his career he made more than 40 albums and was nominated for 6 Grammy Awards. His choice of music, from that of Duke Ellington to Latin American tunes to be-bop influenced interpretations, made him a cult figure. In 1981, he recorded the album, Bop for Kerouac, 'in which he blended the prose of Jack Kerouac's On the Road with musical meditations on Charlie Parker, George Shearing and the jazz sensibility.' A singer's singer, he left a deep impression on jazz music.
Click here for a video of Mark Murphy singing God Bless The Child.
Wilton Felder - A tenor saxophonist from Texas who also played bass guitar and who was part of the original Jazz Crusaders. He can be heard on the famous Street Life recording. His bass guitar playing secured him work in the Hollywood studios although he did release albums under his own name in the 1970s and 1980s.
Click here for a video of Street Life.
Phil Woods - Alto saxophonist born in Massachusetts inspired by Benny Carter and Johnny Hodges. He worked with Charlie Barnet's orchestra but by the 1950s, he was playing with Kenny Dorham and Dizzy Gillespie. At the end of the 1950s he was recording with Gene Quill. He then married Charlie Parker's widow, Chan Richardson, and moved to Paris where with George Gruntz he set up the European Rhythm Machine band. He continued to record through the 1970s and 1980s and gave time to teaching, including with the National Youth Jazz Orchestra. 'Carrying his obligatory oxygen tank, Woods was playing in Pittsburgh with members of the city’s symphony orchestra as recently as 4th September 2015'.
Click here for a video of Phil Woods playing My Man Benny with the Barcelona Jazz Orquestra in 2010.
Nevill Sherburn - Bill Brown in Melbourne tells us that Nevill Sherburn, the man behind Swaggie Records, died on Friday October 16th after a short illness. Bill says: 'The label started out in the late forties run by members of the Graeme Bell band. When the band broke up in the early fifties Nevill took it over. He developed contacts overseas and produced lots of vintage material from the classic period as well as promoting the local bands on record. In his early period he put out lots of seven inch six track LPs, later 12 inch LPs under the heading of the 'Jazzmakers'. His contribution to the international jazz scene is formidable and his cheerful helpful presence will be much missed'. Click here to read more about Swaggie Records.
Don Rendell - UK tenor saxophonist who started out with London dance bands before joining with John Dankworth and Tony Crombie to embrace modern jazz. He worked with Ted Heath's band, toured with Stan Kenton and Woody Herman then returned to the UK to work with Graham Bond. In the 1960s, his quintet with trumpeter Ian Carr introduced musicians such as Trevor Tomkins, Michael Garrick and Dave Green. He later played with the BBC Showband, became a session musician, taught at the London Guildhall School of Music and Drama, and was still playing gigs in Kent in 2010 until his health deteriorated.
Ian Carr and Don Rendell
Click here for a video of the Don Rendell - Ian Carr Quintet featuring Michael Garrick and Dave Green in 1958 playing Pavane.
Owen Bryce - Cornet player who joined George Webb's Dixielanders in 1943 with Wally Fawkes and Reg Rigden. They were the first band to play at the Red Barn in Barnehurst at the start of the Trad revival in the UK. Humphrey Lyttelton eventually took over from Reg Rigden. Owen refused to let a young banjo player, called Lonnie Donegan, sing with the band because he didn’t like his voice. Owen went on playing at the same time as running a shop with his wife, Iris, and then in retirement, had a narrow boat named 'Bix'. John Westwood sent this photograph saying that the boat 'was almost certainly the only one in the world that had a piano on board!'
Click here for another tribute by Mary Mills.
One From Ten
We spend time with an album from our list of new and reissued recordings below.
It is perhaps, not surprising that in Jazzwise magazine Peter Quinn allocates four stars in a review of this album - after all, the band does include the Editor and Deputy Editor of the magazine! On the other hand, the fact that people from the mag. can produce music like this brings credibility to the publication.
J-Sonics are Matt Telfer (tenor sax, soprano sax), Andy Davies (trumpet, flugelhorn), Clement Regert (guitar), Mike Flynn (bass), Jon Newey (percussion), Gabor Dornyei (drums) and Grace Rodson (vocals). This is their debut album bringing latin jazz to the Lyte Records label.
The album will be launched on Sunday, 22nd November at POSK Jazz Cafe in Hammersmith as part of the London Jazz Festival. What does the introduction say?
'Different Orbits is the propulsive debut album from J-Sonics, the six-piece collective who have emerged in the last two years as one of London’s hottest groove-driven jazz bands. Set for release on LYTE Records this November, the album brings together a fiery sax-trumpet front line that’s fuelled by imaginative guitar work, and a powerhouse bass, drums and percussion rhythm section. J-Sonics push the energy out front and have built a formidable reputation as a compelling live act through regular appearances at prestigious London venues such as Pizza Express Jazz Club, Hideaway and Spice of Life as well as a storming appearances at the 2014 Love Supreme Jazz Festival, 2015 London Latin Jazz Festival and two opening weekend appearances at the 2012 and 2013 EFG London Jazz Festival.'
'Led by bass guitarist and composer Mike Flynn, J-Sonics features some of London’s finest musicians – all solo artists in their own right – but all collaborating within J-Sonics’ exciting mix of memorable originals and re-tooled jazz, Brazilian, Afro and rare-groove tunes. Led by the powerful twin-horn attack of saxophonist Matt Telfer and trumpeter Andy Davies, alongside guitarist and composer Clement Regert, drummer Gabor Dornyei and powerful percussionist Jon Newey. Stunning Spanish vocalist Grace Rodson has been performing with J-Sonics for the last year and features on their debut album.'
Click here for a video of the band playing Samba House with Grace Rodson.
'Different Orbits was recorded in a single weekend, live and direct in Wax Studios in Dalston, and bottles some of the unique chemistry that has made this band such a hit on the live circuit. The dynamic ten-track album dives through a vibrant blend of street-funk, Brazilian and Afrobeat songs all shot through with captivating jazz solos, fluid improvisation and a ton of memorable melodies. Originals include cool strutting opener 'Push', the stirring Afro grooves of 'Sing Your Own Anthem' and '12 Labours', the twists and turns of 'Little Ben' and slamming closer 'J-Sonics Theme'. There’s a sophisticated slice of soulful jazz funk too that morphs into a Latin-jazz burn up on the vocal-led single 'Samba House', one of three tunes to feature stunning London-based Spanish singer Grace Rodson. Her sublimely soulful vocals also feature on the thumping Brazilian-funk classic 'Partido Alto', (with a brilliant soprano sax solo from Telfer), and funky Ed Motta favourite 'Bananeira'.'
Click here for a video of the band playing Bananeira.
Other choice covers include an electric Miles-ish take on 'Mr Clean' with scorching bass, trumpet and drum solos, plus the burning samba of 'Casa Forte'.
Different Orbits is a punchy opening gambit from an exciting genre-hopping jazz collective – combining hook-laden originals and inventive reworkings of timeless gems, all given a distinctively energetic yet virtuosic spin.
Click here for more information about the album.
Ten Recent Releases and Re-Issues
Gigging and On Tour This Month
Simon Spillett Quartet Plays the Music of Tubby Hayes - 1st November
Following on from their sell-out performance in February, The Simon Spillett Quartet returns to Ronnie Scott's Club in Frith Street at lunchtime on 1st November to once more perform the music of the ultimate British jazz legend, Tubby Hayes.
Led by tenor saxophonist Simon Spillett - winner of several accolades for his music, including Top Tenor in the British Jazz Awards, and latterly author of the definitive book on Tubby Hayes (The Long Shadow of The Little Giant), the quartet features pianist John Critchinson, a regular member of the Ronnie Scott group for over fifteen years, bass icon Dave Green, a player whose CV boasts such formidable names as Sonny Rollins and Coleman Hawkins and sui generis drummer Spike Wells, whose international career has seen him working with stellar jazz names including Johnny Griffin and Roland Kirk.
John, Dave and Spike all knew and worked with Tubby Hayes, with Spike a member of Tubby's big band and quartet from 1968 to 1973, lending a distinctly personal edge to this celebration. The music played will include themes written, arranged and associated with Hayes, including material from albums like The Jazz Couriers in Concert, Tubbs in New York and Mexican Green.
Click here for details
Brian Molley Quartet To India and Back
Glasgow-based reeds player Brian Molley is taking his Quartet on a tour of India from the end of October through to November, arriving back for a closing-tour gig at The Jazz Bar in Edinburgh on 11th November.
The Quartet - Brian Molley (saxophone and clarinet), Utsav Lal (piano), Mario Caribé (double bass) and Stuart Brown (drums) will be performing in Rajasthan, Kolkata, Delhi and Bangalore where they will be playing their contemporary, lyrical jazz from ballads to drum 'n' bass, from straight-ahead to Brazilian choro music.
Click here to sample Brian's album Clock.
#4Jazz Festival - Coventry - 27th and 28th November 2015
#4Jazz is a new festival which will see an explosion of jazz, in all its wondrous varieties, for Coventry residents and visitors to the city. Created by JazzUK, which has supported jazz musicians across the country for more than 30 years, #4Jazz will have music blazing a trail alongside Ego Theatre’s street scenes, an Imagineer Productions’ carnival procession, promenading bands in the medieval lanes and open spaces in the city centre, grooving down in a music marquee in Broadgate, cool sounds in the Old Grammar School, east meets west in Belgrade Theatre, African-Caribbean vibes in FarGo Village, gypsy swing in Draper’s Bar, wild and thrilling beats in The Tin, and musical balloons for children in The Herbert.
Michael Janisch's Paradigm Shift
Michael Janisch, bass player, composer, producer and owner of Whirlwind Recordings released his new double-disc solo album Paradigm Shift on October 2nd and continues an extensive autumn tour to December with his new six-piece band.
Starting at The Vortex in Dalston, London on September 3rd where the session was recorded for BBC Radio 3's Jazz Line Up, the tour visited Spain in September before returning for gigs throughout the UK.
Click here for details of the tour.
Click here to listen to a preview of the album.
Misha Mullov-Abbado - New Ansonia Tour
Bassist Misha Mullov-Abbado continues his tour through November following the launch of his debut album, New Ansonia.
We recommended this album in a recent review (click here), and if you get the chance to hear the band, take it.
They are playing at:
15th November - The Barbican Freestage (London - part of the EFG London Jazz Festival)
Items Carried Over From Last Month
The following items appeared in the last magazine but may still be of interest to readers:
David Sinclair Photography Exhibition - November
Jazz photographer David Sinclair has a major exhibition of his work at London's Royal Albert Hall from 14th to 29th November.
Together with David Redfern, David Sinclair was the official house photographer at Ronnie Scott's Club for over twenty-five years. He started out taking pictures in the 1980s and then regularly took photographs at gigs at the Bull's Head in Barnes. He now has an archive of 50,000 images featuring more than 5,000 jazz subjects and of these, 100 will be on display in the exhibition. Injured in a car accident in 2014, David is now back in action behind the camera.
On his website David says: 'I have always loved music. It started with my mother playing boogie-woogie and Chopin on the piano at home in Edinburgh. Then I fell in love with the clarinet: Benny Goodman. Artie Shaw. Woody Herman. Klezmer. My first live photograph was in the late 80s at my local arts centre in Surrey. US trumpeter Wild Bill Davison. Soon after, the Ronnie Scott Quintet played there. The photograph I took that night of Ronnie sitting unaware is still one of my favourites. Soon after printing it in my darkroom, I rang him to ask if he would please sign it for me. He said "Sure, bring it along". He gave my wife and I a table watching Cedar Walton and later signed the picture "To a Great Guy, Ronnie". I was of course delighted, particularly as he thought I was special ... a great guy ... until next morning over my cornflakes and gazing starry eyed at the photo and the written blessing, I suddenly realised the wording actually read "FROM a Great Guy" ... typical of Ronnie!'
Entry to the exhibition is free and it opens in the ground floor corridor at 10.00 am of a morning. Click here for details. You can read more about David and see a gallery of his pictures on his website (click here).
The People's History Of Pop
Rebecca Stewart is a reseacher working with 7 Wonder Productions that is making a new documentary called The People's History of Pop for BBC Four, due to air in 2016.
Rebecca says: 'We are currently crowdsourcing photos and audio/video of people's cherished music memorabilia - ticket stubs, diary entries, teen band recordings, wrist bands, rare footage and more - to tell the stories of British rock and pop music from the fifties to the noughties. Whether you were into skiffle, punk, hip hop or anything in between, we want to see your stuff and hear your stories! I noticed on your forum there are some interesting stories and memorabilia written about so I was wondering if you and your website's online community might want to share their experiences on our website: www.phop.co.uk'
'Everything sent in will be part of an incredible online archive and will culminate with a television series for BBC FOUR, featuring the best of what's been uploaded to the site. I would be grateful if you could share this on your website or with whoever you think may be interested. Listen out for mentions of us on BBC radio and TV too.'
Contact their website for more information and make sure jazz is included in the documentary.
Jazz Book Club Books
There are still a number of Jazz Book Club books looking for a good home. Sandy Pringle has asked if we could pass on his collection of books from the Jazz Book Club. Several have been taken, but there are others that might still be of interest to readers.
The Jazz Book Club (JBC) was a publishing project of Sidgwick & Jackson, a London-based publisher. Herbert Jones, the editor, and a distinguished panel, selected the works. Sixty-six issues, and various extras were published from 1956 to 1967.
Sandy Pringle's books are all hard back editions and the jackets - the paper covers - have gone. They are some fifty years old and so some have a few brown age spots on some pages. Even so, there are many biographies and other works here including Young Man With A Horn by Dorothy Baker; Burnett James's Essays On Jazz; Treat It Gentle by Sidney Bechet, Jack Teagarden by Jay D Smith and Len Guttridge, and John Clellon Holmes excellent novel The Horn.
Although the books are different thicknesses, to make life easy for me, if anyone is interested in any of the books I will post them out individually within the UK at £5 each to cover costs. Click here to see the list of books still available and how to go about obtaining them.
Jazz Talks: Buckinghamshire and Norwich Areas
Dr Bob Moore has contacted us saying:'I am a member of the U3A (University of the Third Age) Jazz appreciation section. I now have given four talks to them on each of the following: Louis Armstrong, US swing bands of the 40's, Modern Jazz Quartet and Stan Kenton. I should say that I am not a profession speaker but I have reasonable knowledge of the subject. Now that I have given the talks, it is most probable that they will gather dust in a cupboard but if anyone local to me in High Wycombe is interested, I would be prepared to repeat the talk for free with possible expenses for petrol if far away.''The talks mainly simply require a good audio system plus someone to put on the CD's but the Kenton talk does included some excerpts from Youtube on the internet but these could be edited out. If I use the Internet it would require screen plus associated equipment. The talks take about 90 min and the usual format is general background on the artist or group followed by tracks from CD's.'If anyone would like to take up Bob's offer, you can email him at firstname.lastname@example.org
Similarly, Roy Headland who gives occasional talks to Norwich Jazz and Blues Record Club is offering to give talks with music to other groups in the Norwich area. A recent talk 'A Jazz Tour of Norwich and Norfolk' to an audience of 60 had the organiser saying: "Thank you for giving us such an informative and enjoyable evening,full of musical stars.The feedback was good and we hope to see you back with part 2." Roy's email address is: email@example.com.
© Sandy Brown Jazz 2015