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November 2015

Click for this month's:
Ten New Releases
Gig Listing


On A Night Like This,
The Story Is Told

Eddie Condon's book We Called It Music is dedicated 'For Bix (I hope he isn't wearing a cap'. Eddie writes:

'As I packed up to leave Lake Delavan a new idea nudged me. The college kids I had met during the summer were like me, but they had a different manner. "Who is Proust?" I asked Wop one day. "What does he play?" Wop said. That was it. Education was something you couldn't see but it was there, like being able to throw a curve. I decided to get some for myself. It doesn't come in bottles, so it can't do me any harm ....'

Eddie Condon

'..... Bix came to town that spring. He left the Wolverines when they went on the road ... Bix stayed at the Rienzi hotel, down the street from the Rendezvous. Often he came to the Allerton House and played the grand piano ... My school books stayed on the table, unopened. One day Bix saw them. "What are these?" he asked. I explained that I was getting an education. He looked perplexed. "What are you going to do with it?" he said. "If you can't read music why do you want to read books?"

Bix Beiderbecke

'He sat down at the piano. "By the way," I said, "who is Proust?" He hit a chord, listened to it, and then said, casually, "A French writer who lived in a cork-lined room. His stuff is no good in translation." I leaned over the piano. "How the hell did you find that out?" I demanded. He gave me the seven veils look. "I get around," he said.'


Who's This?

Born in California in 1925, his mother had run away from her parents when she was fourteen and his father was a sailor. Both were alcoholics so he ended up living with his grandmother.

At nine he began playing clarinet and at thirteen switched to alto saxophone. By seventeen he was playing professionally with Benny Carter before joing the Stan Kenton orchestra. After the war, he returned to Kenton and by the 1950s became recognized as one of the leading alto saxophonists in jazz. He came second to Charlie Parker as 'Best Alto Saxophonist' in the Down Beat magazine Readers Poll of 1952.


Who's This?


One of his most famous recordings from the 1950s saw him 'Meet(s) The Rhythm Section'.

He became addicted to heroin in the 1940s and was imprisoned a number of times, his last two sentences were in San Quentin. His career was interrupted by these times 'away', but he managed to come back from them, spending time in rehab. in the 1960s and taking methadone therapy in the 1970s.

His autobiography, Straight Life, was published in 1960 and this was followed by a documentary film by Don McGlynn, Notes From A Jazz Survivor.

He died of a stroke in Los Angeles on June 15, 1982, aged 56

Not sure? Click here to watch the documentary Notes From A J azz Survivor (46 minutes).



... 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 Worshipful Company logothat that the 2016 prizes are now open for entries, with a closing date of 3rd December 2015

The Prize was established by British businessman, bass player and jazz enthusiast, Art Mead in 2007, and it is sponsored by the Wavendon Foundation. There are two prizes for original jazz compositions. £1000 for a composition for Big Band and £1000 for a composition for Small Ensemble (7-9 players).

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.

The winners will be announced at a prize-giving concert at Trinity Laban Conservatoire of Music and Dance on 1st March 2016 under the direction of Simon Purcell. The prize is normally awarded on the night by a member of the Dankworth family.

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 BBC Music Jazz logobeen 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 Tubby HayesLegacy 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.

Tubby Hayes

The book is published by Names and Numbers, highly regarded discography specialists based in the Netherlands, and is available direct from their website (click here and click on 'New Books').



Jazz Quiz

Come Dancing

What's This?Question Mark

This month, our quiz is strictly about dance related to jazz. So stop leaning against the bar, get yourself on to our Quiz page, and strut your stuff.


Fifteen questions such as:

Which dance do they say was 'made in South Caroline'?


If you think you know the answer, go to our quiz page and try to answer the other fourteen quiz questions and then check out the 'Answers' page where you will also find some interesting videos.


Click here for the Jazz Quiz.





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 National Jazz Archive logo 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, Ian Shais 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.





The Bass Trombone In Jazz

In Conversation With Sam Freeman


[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

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.

Varsalona worked with Kenton for eight years. After he left, his place was eventually taken by George Roberts who had been playing tenor trombone in Gene Krupa’s band. George Roberts is still looked on as one of the masters of the instrument. In Elicia Hill’s article in the ITA Journal,George Roberts Roberts began exploring the role of the bass trombone, thinking: ‘Nobody has ever played a solo on bass trombone, and I could really take advantage of my [lower register]. It [will] be harder because of the pacing against the tenor, and there are more restrictions. Bass trombone is like playing an open inner tube. I’ll have to pace myself differently. I’ll go more for sound. Maybe I could play songs like Urbie [Green] only an octave lower’. (George Roberts died in California in 2014 at the age of 86).

George Roberts

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 Sam Freeman2013. 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.’

Sam Freeman
Photograph by Ian Maund

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 Bass Trombonea 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.

Sam has also taken the bass trombone into other scenarios in playing with Pandora’s Jukebox and the Diamond Skyline Orchestra. The Diamond Skyline Orchestra is a showband playing for weddings, parties, corporate events, etc. In both, the bass trombone adds to the textural range the band is able to produce.

Click here for a video of Sam playing with the Diamond Skyline Orchestra including several members of the London City Big Band.


Pandora's Jukebox

Pandora's Jukebox

Pandora’s Jukebox is primarily a function band with both Dougie and Sam Freeman in its 8+ piece combination. Click here for a video of Pandora’s Jukebox showreel.

People are becoming more aware of the bass line in bands. As Sam says: ‘Most big bands are looking for the bass sound these days. As big bands become more ‘orchestral’ in the textures they employ, the bass becomes increasingly important. Look at how popular music too these days is more and more bass orientated.’

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!





Tea Break


Simon Spillett (saxophone, bandleader, author)

Simon Spillett

Hi Simon, tea or coffee?

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.

Simon Spillett
Photograph by Jerry Storer


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 Mark Halenew documentary film Tubby Hayes: A Man in a Hurry at Ray's Jazz in Foyles, Charing Cross Road.

We also have gigs including The Verdict (Brighton), Fleece Jazz (Essex), Welwyn Garden City (Herts Jazz), Twickenham Jazz Club and The Eagle, Rochester.

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.

Mark Hale


Another biscuit?

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].


Utah Teapot




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 hisLondon Jazz Festival 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. Jazz For Toddlers


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.




Help With Musical Definitions No 17.

Gregorian Chant

Impatient Gregory Porter Fans.




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 Earl Bosticback 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. Earl Bostic Jazz As I Feel ItColtrane 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





I got my first full-time job as a musician. I could swear I was making more money in college, working for my parents as their daughter.

after Melanie Reno




Full Focus:


Tori Freestone Trio

My Lagan Love - In The Chophouse


[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-Tori Freestoneconsidered, 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 In The Chophouse albumwas 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 alsoTori Freestone Trio 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
Photograph by Franco Silvestri


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 to listen to But Not For Me. Click here to listen to Mrs PC.

Click here for Tori Freestone's website.



Zebra looking at a piano - "Dad?".




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.'





Tea Break


Andrew Linham (saxophonist, bandleader, composer, educationalist)


Andrew LinhamHi 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.  

What gigs have you played recently?

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 Andrew Linham Jazz Orchestra posterSpice 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]

Jamie Leeming

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.

Jamie Leeming


Another biscuit?

Andrew: Oooh, It’d be rude not to. But if you eat too many your Doctor will tell you to bis-quit. 


Click here for our Profile of Andrew Linham. Click here for Andrew's website.


Utah Teapot







The Party's Over - But Who Are The Band? The Party's Over movie poster


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.



Bert Quarmby

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.
Some more names have floated into my mind. The bass player on Wednesdays was Ronnie Spack - I last heard of him in the 1980s when he was living in Southend-on-sea. Kay Garner sometimes sang with Rex et al on Saturdays. Kay, who died some 7 years ago, was one of that select bunch of session singers who appeared on almost every record. She worked regularly with Madeline Bell, and together they were featured on most of Dusty Springfield's hits. Kay stayed in touch with her jazz roots, working with Tubby Hayes among others.'



Steve Lane

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 Steve Lane Movin' On albumof 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.

All the LPs (I have about 20) are in excellent condition though a little dusty, and some of the sleeves show signs of foxing. The numbering runs from 141 to 451, so there are a lot more records out there somewhere.

Many of the recordings are on the VJM label. Three are on Czech label Supraphon, including Beryl Bryden with the Prague Dixieland Band, and Czechoslovak Journey by Graeme Bell and his Dixieland Jazz Band. Two John Deffray's Creole Jazzband albumLPs, one by The Frog Island Jazz Band and another by Steve Lane and his Famous Southern Stompers, are on the Stomp label, "produced on a non-commercial basis, in limited editions, for the benefit of collectors, enthusiasts and connoisseurs."

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 haveRusty Taylor album been made by an exclusively Belgian unit."

Reading the addresses of the various record companies - Enfield, Harrow, Kingsbury, Pinner - you get the impression of a cottage industry run by enthusiasts beavering away from their homes on the north-western fringes of London.

At the time I bought the records I knew nothing about Steve Lane, other than that he was a jazz player. There was little information online and the reference books carried only brief mentions. It was clear he would be in his nineties and unlikely to be still playing, but I had the vague idea of knocking on the door of the house in Kenton Lane to see if it led to anything. Before I could do so I learnt the sad news of his death, via the London Jazz News website, and was then fascinated to read John Wurr's profile published on your site and to discover so much more.

Steve Lane address label


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.

As I write, Steve Lane, backed by John Wurr on alto clarinet, is on my turntable singing "Someday Sweetheart" from the Southern Stompers album Movin' On (number 283), recorded at the Railway Hotel, Greenford, in 1977.





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 quiteJamie Evans and Pam Heagren 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
Picture courtesy of Jamie Evans

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.' 



Neil Millett

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!'






Four friends are touring Europe. One is English, one is French, another is Spanish, and the last is from Germany. The four friends are in Paris, and see a large crowd gathering around a busker. They all crane their necks to see, but can't seem to get a view. The musician notices the men, and stands on a box. He yells out "Can you gents in the back see me alright?" The friends respond: Yes, Oui, Si, Ja.





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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).

George Trebar


George Trebar


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.

Matt Holborn


Matt Holborn

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.


Nils Solberg and Ducato Pietrowski



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.


Adrian Cox

Adrian Cox


All photographs except the album cover © Brian O'Connor.
For Brian O'Connor's website where you can find a gallery of his jazz photographs click here: www.imagesofjazz.com




Departure Lounge


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


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


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



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

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 and Ian Carr

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's Boat Bix


Owen Bryce - Cornet player who joined George Webb's Dixielanders in 1943 with Wally Owen BryceFawkes 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.



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Album Originally Released: 19th September 2015 - Label: Independent Release


David Patrick Octet

Igor Stravinsky
The Rite Of Spring

Saxophonist Howard Lawes reviews this album for us:

Those of us who grew up listening to rock music and the occasional popular classic may well have been frog-marched to a performance of Stravinsky’s The Rite of Spring by a well meaning friend who wanted to broaden minds with something avant-garde.  If you were lucky enough to see the ballet and orchestral work performed simultaneously you were probably blown away by the excitement and spectacle of an amazing performance and it is probably etched into your brain even now. However when first performed in 1913, opinion was polarised with different factions within the audience attacking each other and the orchestra.  Subsequently The Rite of SpringDavid Patrick Octet The Rite Of Spring has been recognised as one of the most important and popular pieces of classical music of the 20th century, has been recorded more than a hundred times and performed all over the world.

Stravinsky's masterpiece and his use of complex rhythms, timbres and dissonance did not escape the notice of jazz musicians and several, such as Ornette Coleman, Alice Coltrane and Hubert Laws have been inspired to include themes from The Rite of Spring in their own music.  Other classical pieces have also been used, interpreted or re-arranged by jazz musicians including Duke Ellington (Nutcracker and Peer Gynt), Jacques Loussier (Bach) and Miles Davis (Rodrigo's Concierto de Aranjuez becomes Sketches of Spain) but in general, reaction from critics and audience have been mixed with questions being asked as to whether classical music can be re-arranged satisfactorily as jazz. Sketches of Spain actually won the 1961 Grammy Award for Best Original Jazz Composition but one wonders whether Rodrigo, who was not over enamoured with the Davis version of his music, appreciated the irony of the award.  Stravinsky wrote a piece for the Woody Herman Orchestra called Ebony Concerto, but the general consensus was that the music was more classical than jazz.

While Stravinsky himself recorded a version of The Rite of Spring with the Columbia Philarmonic Orchestra in 1960, perhaps the greatest orchestral version is by Leonard Bernstein, conducting the New York Philarmonic Orchestra, recorded in 1958 and Stravinsky's reaction was reported to be "Wow".  The album cover of that LP shows the orchestra with over 100 members, the vast majority playing stringed instruments of all shapes and sizes and this is often cited as the classic interpretation of the composition.  However Stravinsky had also prepared other arrangements, including one for just two pianos which he and composer Claude Debussy played together in 1912, and so it may be assumed that the piece may be performed satisfactorily by ensembles of different sizes.

David Patrick has spent over two years orchestrating and planning his The Rite of Spring project. The recording took six months and the first performance was at the Jazz Bar in Edinburgh exactly 100 years after the first performance of the composition in Paris.  David Patrick’s project was performed again this year at the Edinburgh Festival to rave reviews and widely acclaimed by the audiences.  Patrick has totally re-orchestrated the piece for his octet to provide as authentic an interpretation of the original as possible and then discreetly included some fine solo improvisations which have a distinctly jazzy feel.  While this combination may generate similar criticism to that directed at Sketches of Spain the difference between the two approaches is that Patrick's version is true to the original with jazz components added while Davis tended to alter the original considerably.

Click here for a video of the Octet in performance.

The piece consists two acts divided into sections as follow:

Act 1 entitled "Adoration of the Earth" 
1. Introduction
2. Spring Fortune-Telling (Prophesies of Spring)
3. Dances of the Young Maidens
4. Game of Abduction
5. Spring Khorovod (Round Dance)
6. Game of the Rival Tribes
7. Procession of the Sage
8. The Sage
9. Dance of the Earth

Act 2 entitled "The Great Sacrifice"
10. Introduction
11. Mystical Games of the Young Maidens (Walking in Circles)
12. Wedding Song of the Chosen One
13. Evocation of the Forefathers
14. Performance of the Ritual of the Forefathers
15. Great Sacred Dance

The music varies from sweet melodies to violent, stabbing, dissonant chords and percussion.  The dance sections are understandably rhythmic while the game sections are sometimes frenetic conveying a competitive melee, sometimes slow and mysterious.  Stravinsky's original version lasted about 35 minutes while Patrick's arrangement including solo improvisations lasts 50 minutes.  Those familiar with the classical piece will no doubt quickly identify the jazz solos but others may well find this more difficult as most fit very well with the character of the original.  Exceptions to this general rule are solos which occur in sections 13; here the saxophone solo has a real swing to it followed by a bass solo and 14, where the squeaky sounds are difficult to identify.

David Patrick clearly has great respect for Stravinsky and his music having spent a huge amount of time on the orchestration even going to the trouble of having the section titles re-translated.  The musicianship evident from the recording is really excellent with all the sophistication and complexity of the original reproduced as faithfully as possible.  Some purists may find the insertion of additional solo improvisations a little irksome but in general it works well and gives individual musicians a chance to shine.  This is a piece of music which should appeal to a wide audience and will provide enjoyment for years to come.

Personnel are David Patrick (piano and orchestration), Sam Coombes (flute, soprano and alto saxophones), Brian Molley (B flat clarinet, soprano, alto and tenor saxophones), Calum Robertson (E and B flat clarinets, bass clarinet), Tom MacNiven (trumpet and flugelhorn), John Kenny (alto, tenor and bass trombones), Andrew Robb (contrabass) and Ole Seimetz (drums).  Credit is also noted for Diljeet Bhachu (alto flute and piccolo).

The album cover and notes are decorated by the stunning art of Adrian Wiszniewski and the section titles have been re-translated from the original Russian by Dr Lara Ryazanova-Clarke.

Click here to sample the album.

Further information is available at  David Patrick's website (click here)

Howard Lawes


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Album Released: 18th September 2015 - Label: Edition Records


Girls In Airports


Tim Rolfe reviews this album for us:

This album betrays the group’s origins as it’s a bit like Danish style and furniture, less is more.  There are no included notes and the nine tracks are all less than six minutes each making for a total of approximately 38 minutes of music.  This is their fourth album release and their Girls In Airports Fables first international label edition.  Although there are “Girls” in the group’s name, they are in fact five guys from Copenhagen’s bohemian and fertile artistic community.  

Formed by a group of friends and fellow students, initially gigs were local and on the small side.  One early concert was in a small record shop located in the hip Norrebro district where the band is based.  Two promoters, one a Chinese agent and the other from Brazil, came along to check them out but as the shop was packed, they had to listen from outside.  Nonetheless, they must have been impressed as the band was offered tours in China and Brazil.  

The band consists of Martin Stender on saxophone who seems to produce the original compositions and then the rest of the band develop the theme. Lars Greve is on sax and clarinet, Mathias Holm on keyboards, Victor Dybbroe on percussion, and finally Mads Forsby on drums.

Without any management or record deal, they have also toured in South Korea, New York, Germany, Portugal, London and Belfast.  Fables was partly influenced by Charlie Mingus, and Mingus was an early working title for this album.  His composition Fables of Faubus was playing in the background when this album was being made. The title track is intriguing, and the percussion features strongly, there are short snatches of melody, played beautifully on the clarinet with a counterpoint later in the track of loud improv., from the saxes.

With the next track, Sea Trail, the percussion opens the track, with melodic slow sax and clarinet, which conjures up a picture of mist rolling in on a sea shore, and then in Randall’s Island, again the percussion features as it starts the track with gives a slow beat with long Girls In Airportsnotes played on the keyboards.  We have some melodies that explore the hinterland and return, others just going off at a tangent, but those of us that remember electronic music from the 70s may well like this track.

Track 4 is Mammatus, again a slower number with the clarinet starting a slow solo and then joined by keyboards and rolls of percussion which finish the track. Aftentur provides a haunting sax solo after a drumming introduction, with lots of echo and reverb making an appearance holding the melody into the distance and restarting it, and is followed by Aeiki, another percussion laden track that lends a ‘tribal’ feel with highlights from the saxophones and keyboards.

Click here to listen to Aeiki.

Dovetail, at track 7 does what as it says in the title as there seems to be little of a break between this and the previous track.  The percussion drives the track throughout, with quiet melodies from the wind instruments which even seem to mimic birds. Track 8,Yola, has the keyboards prominent, playing repetitive notes with low notes from the sax with some background percussion which takes over towards the end of the track. The final track, Episodes, has slow repeated rhythms with all the instruments taking turns to reinforce the overall melody.

This album is very interesting with experimental music that seems introspective yet exudes youthful vitality and 70s electronica overtones.  All the musicians play a part in producing this short, but enjoyable to listen to collection of individualistic music.

Click here to sample the album.

Tim Rolfe


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Album Released: 20th October 2015 - Label: Capri Records


Scott Hamilton and Jeff Hamilton

Live In Bern


June Bastable reviews this album for us:

Tenor saxophonist Scott Hamilton and drummer Jeff Hamilton, who have both graced the jazz scene with their artistry for the past four decades, are not biologically related, but their mutual understanding and passion for swinging mainstream jazz could make one believe they are brothers under the skin!

“Pairing Scott and Jeff has been a long-time dream of mine,” says Capri Records President, Thomas Burns,  going on to explain that Jeff has made many recordings for Capri as leader of his dynamic trio, as co-leader withScott Hamilton & Jeff Hamilton Live In Bern The Clayton-Hamilton Jazz Orchestra and also as sideman on a number of other sessions.  When Scott and Jeff were approached to record together for Capri, they grasped the opportunity with enthusiasm.

And so, on this sparkling collection, which was recorded at Marians Jazzroom a week after the quartet performed at the International Jazz Festival in Bern, they are captured together for the first time.  Joining Scott Hamilton and Jeff Hamilton are the two stalwarts of Jeff’s trio, pianist Tamir Hendelman, and bassist Christoph Luty both masters of inspired improvisations and seamless support.

This album is an absolute joy: it takes us on a magic carpet ride through a collection of beautiful and nostalgic jazz standards, such as the dreamy September in the Rain, All Through the Night (hear that weaving sax and a witty quote from Don’t Get Around Much Any More), Max Waldron’s torchy and wistful Soul Eyes (reminiscent of, but composed for Coltrane long before, Bernard Herrman’s theme from the film Taxi Driver), Richard Rogers’s This Can’t Be Love (with a quote from Pennsylvania 6500), Benny Carter’s introspective Key Largo (fleeting quotes from Mona Lisa and Leroy Anderson’s Plink, Plank, Plunk!), the up-tempo There’ll Be Some Changes Made, superb sobbing sax Scott Hamitonwork and inspired piano on Harry “Sweets” Edison’s Centrepiece, plus a wonderful rendition of the Billy Strayhorn’s lesser-known or, at least, lesser-played number, Ballad For Very Tired and Very Sad Lotus Eaters!

Scott Hamilton

Click here to listen to Soul Eyes.

More gems include You And The Night And The Music (lovely bass solo and a cheeky quote from the Mexican Hat Dance), Dizzy Gillespie’s Wood‘n You (fabulous drumming and piano here, plus a subtle quote from ‘Round Midnight), and Jeff Hamilton’s composition Sybille’s Day – lovely piano onJeff Hamilton Trio this track!   

Click here to listen to Wood'n You.

Jeff Hamilton Trio


A  special mention must be made of a stand-out version of Dizzy Gillespie’s fabulous and exciting The Champ - a favourite of this reviewer’s from the very early 1950s. It has to be mentioned here that the sleeve note incorrectly credits Alan Hawkshaw as the composer of The Champ – those musos amongst you will know that Leeds-born Hawkshaw did indeed compose a similarly titled piece years later in the 1970s for a pop group (The Mohawks), but the track on this album is definitely Dizzy Gillespie’s original composition from 1951!

Click here to listen to The Champ.

But back to the business in hand – this marvellous collection of great tunes provides the jazz-lover with an aural box of delights – dip in anywhere and be soothed and/or thrilled. 

Mainstream jazz is still swinging!

Click here to sample the album in iTunes. Click here for more details.

June Bastable

June Bastable is the wife of the late jazz musician, Johnny Bastable. She is a writer and author of two books Some People and These People available from Amazon, Waterstones, etc.


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Album Released: 2nd October 2015 - Label: Provocateur Records


Colin Towns Mask Orchestra



Robin Kidson reviews this record for us:

Well, here’s a treat and no mistake. A double CD, 16 tracks, of full-on, contemporary big band music packed with excitement and innovation. Colin Towns has been around a long time and has done a lot of things including writing music for TV, films and the theatre. He first founded the Mask Orchestra back in 1990 to play his big band jazz compositions. Over the years, the Orchestra has released a number of critical acclaimed albums. Drama isColin Towns Mask Orchestra Drama its seventh release and is a compendium of Towns’s work in the theatre. “Some of the pieces are from original productions, which started life in the theatre and now step into the spotlight,” says Towns, “others are revisits, musical reinterpretations or impressions of the plays.”

Towns has collected some of the cream of British and European jazz to play on the album including Alan Skidmore, Peter King, Henry Lowther, Tim Garland, Harry Brown, Julian Siegel…. the list goes on. Altogether, some 20 musicians make up the Orchestra plus “special guest Japanese drummer and percussionist, Joji Hirota”. Hirota’s solo on The Royal Hunt of the Sun, the first track on the second CD, is particularly memorable.

Many of the pieces are fairly long and each contains multiplicities of melody, mood, style, rhythm and sound. The Crucible, for example, the longest track on the album at nearly 20 minutes, includes, inter alia: some beautifully played traditional English brass band music; short interludes of almost free jazz; music which wouldn’t be out of place in a James Bond movie; military marching band music, which then morphs into something sounding like Albert Ayler; an electronically distorted recitation of part of The Lord is My Shepherd; and any number of great solos with Julian Siegel on bass clarinet, and Barnaby Dickinson and Tom White on trombones, standing out. The track ends with a tolling bell gradually fading into the distance.

On none of the tracks does Towns let any particular element go on too long – idea follows idea, theme follows theme at sometimes breathtaking speed. One advantage is that solos  are short (sometimes a bit too short for my liking), and so most of the musicians get a chance to shine. On The Crucible, for example, there are 16 separate solos played by 12 different musicians.

The writing for brass is outstanding – as, indeed, is the playing. Towns and his Orchestra are particularly good at creating a complex interweaving of instruments which is always absorbing and sometimes completely thrilling – as, for example, on The Cherry Orchard or Hysteria. There are also some marvellous brass fanfares – the track Equus, for example, includes a section where the music is punctuated by spine tingling, discordant little fanfares in a highly original way.

Towns and his Orchestra are also brilliant at producing a sort of controlled cacophony. But it is never just self indulgent, undifferentiated noise. Colin TownsThere is always some point, a purpose to a Mask Orchestra cacophony – it always fits in somehow to the overall structure and drift of the piece, it is always short, and it is always under control. It is particularly thrilling when, gradually, an orderly melody triumphantly emerges from the apparent chaos – as at the end of One Flew Over the Cuckoo’s Nest.

And, finally, Towns can write some great tunes – examples on the album include the Russian/klezmer folk music theme in The Cherry Orchard, the lovely slow blues of Long Day’s Journey into Night, the lilting Irish jig of The Cripple of Inishmaan, and, best of all, the insistent, jaunty march in The Royal Hunt of the Sun.

In the liner notes, Towns says that “some of this music is challenging and didn’t have an easy birth”. In jazz, the word “challenging” is often a synonym for “unlistenable” but Drama, although original and innovative, is also highly accessible music with a steady rhythmic pulse, a knack for catching the right mood, and readily understandable progressions. My record of the year, so far. 

Click here for a promo video for Drama. Click here for the track list and to sample the tracks. Click here for Colin Towns’s website.


Robin Kidson


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Album Released: 18th September 2015 - Label: Naim Jazz


Get The Blessing



Steve Day reviews this album for us:

Get The Blessing: Jake McMurchie (tenor & baritone saxophone, electronics); Pete Judge (trumpet, flugelhorn, piano, electronics); Clive Deamer (drums, percussion); Jim Barr (bass, Bass V1, electronics, organ).

Some people still don’t get it. The quartet, Get The Blessing, are among the most mercurial small groups using improvisation-fused-composition to come out of the UK since Mark Lockheart and Seb Rochford formed Polar Bear way back. Apparently some people’s gripe is Get The Blessing Astronautilusthat Get The Blessing use electronics and have a bass and drums team that comes from megaband, Portishead, and that this makes the music Rock/Pop. Well, this is the year 2015, jazz plugged into the national grid decades ago and the Jim Barr-Clive Deamer partnership is beyond categorisation.  If the Blessing’s fifth album, Astronautilus doesn’t cure the critics it becomes a problem for ‘some people’, not the band.

Much has already been made of the simple dedication given to Ornette Coleman that goes with this recording. It doesn’t hurt to remind everyone of Ornette, who died back in June this year. The fact is that Astronautilus plants the quartet some distance from their initial fascination with the great alto player / improviser / composer. This is English music, recorded in isolation down in windswept Cornwall. This is English music, drawing as much from a Keith Tippett-Soft Machine axis than from anything born in Fort Worth, Texas. This is English music, pitching the arrangement of the trumpet/sax themes into a modern equivalent of Hugh Hopper’s old fuzz box set-up that fast forwards forty years to Radiohead and Massive Attack into something distinctly Ronnie Scott’s at the Old Place. Bristol and Cornwall are just a couple of hundred miles away from London’s Soho.  New York’s SoHo is a thousand miles the other side of The Pond, a long stretch from what is happening here. This is English music and it damn well counts for something.

The opening track Phaenomena grasps the nettle and stings.  Played loud it feels phenomenal containing a trumpet/sax theme to erupt matter and meaning into the pit of your stomach.  Driving across the top of the Mendips in the dark I cranked the volume right up until the inside of my car was a soundtrack to the elements. Jake McMurchie’s crunched composed tenor sax break is played through a distort pedal. The man sounds as if he has broken loose from the centre of the earth. Jim  Barr’s bass(es) booming, the Deamer-drummer is pushing big patterns off the kit, it is shattering; all over in little more than three minutes. No American band I know would (or maybe would even want to) fuse the weight of attitude and electronics to such grand fanfare themes. Get The Blessing throb the pastoral in concrete block.

Click here to listen to Phaenomena.

And though Phaenomena is a strong initial statement, it is nonetheless only the starter. The next three tracks, Carapace, Monkfish and Conch all build on this beginning but they break differently.  Carapace (I checked the name, it’s something to do with the shell of small sea creatures) is one of the two longer tracks on the album taking it’s time to carefully build to its fizzing finale where the end is brought low to the deep by Get The Blessingbass and drums. In the centre there are all sorts of interesting things happening.  Pete Judge’s trumpet blows to the letter of the law on the melody line. He has a truly personal timbre. Dry and clean, reminding of me of Marc Charig (from all those old Keith Tippett, Elton Dean classic recordings on Ogun Records). 

Next up, Monkfish, is a miniature. Some people have said the title refers to Thelonious Monk, I don’t really know but I doubt it. Whatever, in the time it takes to boil an egg the Quartet have delivered a stunning composition that keeps to the score yet blows a gale getting there. With Conch we are back on the beach. The slow opening ring of Jim Barr’s electric bass playing both the note and the gigantic space that is left behind it. The man tilts time. This is England brooding under a retreating high tide. Clive Deamer’s drums beat the echo of the two horns, treated by the floating flotsam and jetsam they have put into their electronics. The beauty of Conch is that it doesn’t go anywhere, it just hangs on the Barr bass lines like the Cornwall coast under siege from the sea. What follows is a different day. Cornish Native is pumping rhythm with a topline of electro-blowing off the brass and horn. I’ve got no map of the recording session so I’m guessing, I think there is a treated organ in there somewhere. And no, of course this does not reference a Jimmy Smith funky R & B Hammond organ, as I said we are in England’s core.  The bass-pattern is still one mighty groove overlaid by crash and burn from somewhere in the instrumentation of Mcmurchie, Judge and Deamer.

Click here to listen to Cornish Native.

Cut to a melody line, firstly picked out by guitar, then joined by tenor sax and trumpet (untreated). It could be close to Brit legends like Ian Carr and Mike Westbrook. I haven’t checked the facts with the band so I don’t really know for sure. What I can say is that Nautilius is a written-through line, it relies on its success not through an act of improvisation but by simply having its melody stretched out, literally taking its own time to unfold.  And yes, Jake Mcmurchie and Pete Judge place the tune out there as if this were an instantly composed reverie.

If I’m honest, I’m not sure about Green Herring. It contains something like a fanfare, something like a ‘rhythm guitar’ introduction and something like a time change half way through. I’m happy to hear Herring and learn to love it.  Right now it merely takes me to.....

Hayk, a poised, lean length of experimental sound-sculpture. All seven minutes sink below the surface structure, the quartet passing ‘the blessing’ from one to another as if engaged in secular ritual. At the very beginning Pete Judge’s trumpet preens the air rocking the ropes of the bass. There is an electro fuzz creasing these acoustics, and yes, enhancing the context. Ornette Coleman’s long time compatriot Don Cherry would have understood (and approved) of this weighting given his use of electricity alongside organic instrumentation.  As Hayk builds beyond its middle moment it is as if the bass/drums slowly enact physically with the two burnished horns. When the sound is finished it is wired and rubbed clean. Finally, Get The Blessing sign off with Sepia, a track that literally blurs these edges beautifully.  Brian Eno could have produced this endgame. He didn’t, Get The Blessing did.  In my view Astronautilus amounts to essential listening.

Click here to listen to Hayk.

Click here for track list and to sample the album.

Steve Day www.stevedaywordsandmusic.co.uk  


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Album Released: 15th September 2015 - Label: Neuklang Records


Colours Jazz Orchestra
Plays the music of Ayn Inserto

Home Away From Home


Vic Arnold reviews this album for us:

Colours Jazz Orchestra is one of Italy's most formidable Big Bands. On all but two tracks, this recording by the band features the music of Ayn Inserto. Ayn Inserto was born in Singapore and moved to California when sheColours Jazz Orchestra Home Away From Home was 14, where she became very active in the church choir playing the organ. She was introduced to jazz by the group Manhattan Transfer, and she was influenced by the work of Bill Evans, McCoy Tyner and other piano giants. She attended California State Hayward where she was taught by trombonist/arranger Dave Eshelman; she became a member of the New England Conservatory and was a protégé of trombonist Bob Brookmeyer. She is now an associate professor of jazz compositions at Berklee College of Music. Home Away From Home is her third album release. 

The members of the band are: Ayn Inserto (composition and conductor), Simone La Maida, Maurizio Moscatelli, Filippo Sebastianelli, Antonangelo Giudice, Marco Postacchini (saxophones), Giorgio Caselli, Luca Giardini, Giacomo Uncini, Samulele Garofoli, Jeff Claassen (trumpets), Massimo Morganti, Carlo Piermartire, Luca Pernici, Pierluigi Bastioli (trombones), Emilio Marinelli (piano), Luca Pecchia (guitar), Gabriele Pesaresi (bass), and Massimo Manzi (drums).

There are seven tracks on the recording and the music is described as 'Contemporary Big Band'. The influence of Bob Brookmeyer's big band work is evident in places.  There is quite a lot (or so it seemed to me) of saxophone on this recording but as criticaljazz.com says: 'The top heavy (and I mean that in the best possible sense ) brass section allows for the punch and clarity that pushes a deceptively subtle dynamic tension across compositions such as "You're Leaving? But I Just Got Here" along with "Down A Rabbit Hole."

The opening track, You’re Leaving? But I Just Got Here, starts out with drums and soprano sax and Luca Gardini's trumpet solo stands out. It is followed by Recorda Me with its gentle tenor sax introduction, written Joseph Arthur Henderson and commissioned by the Office for the Arts at Harvard and by the Harvard Jazz Band. Hang Around, at track 3 is based on a theme by Hirofumi Nojiri and brings an invitation to dance whilst featuring solos from Simone La Maida’s alto sax and Massimo Morganti’s trombone.

Ayn Inserto's attitude to solos is interesting, she says that she steers away from conventional jazz arrangements in which a series of soloists Ayn Insertoimprovise over the same short tune. 'Instead, a soloist improvises over a continually unfolding narrative. The idea that an improvised solo should serve the piece as a whole was central to Brookmeyer's teaching. "He really didn't want you to just stick a solo in there," says Inserto. "The soloist is there to take us to the next part of the piece. Bob would ask, 'You put a soloist here, what's the purpose? What are you going to give the soloist to help him or her relate to the tune?' "

The album description says how Inserto's "spark" is fully evident on Home Away From Home: 'the ecstatic, helter-skelter breaks for drums and horns and the weave of simultaneous trumpet and soprano sax solos on opener You're Leaving? But I Just Got Here; the melancholy tone-poem harmonies of Wintry Mix; an evocative deconstruction of the Joe Henderson classic Recorda Me; the playful funk of Hang Around; the lovely melody and languid waltz rhythm of La Danza Infinita.'

La Danza Infinita; Down A Rabbit Hole and Five Dance take us to Wintry Mix at track 7 which starts out with a sombre piano solo but then the tempo is gradually picked up and lifted by the sax section. I particularly enjoyed the final track, Subo, written by Daniel Rosenthal with Massimo Morganti's trombone introduction. Ayn Inserto says she: likes to "end with something simple — we put the band through enough torture." Thus the salsa romp "Subo" that ends "Home Away From Home."

Clearly, the composer has fallen in love with Italy and this recording shows that well with Ayn Inserto and her talented musicians delivering an album that takes us out of the standard big band charts.

Click here to sample the album.

Vic Arnold          

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Album Released: 30th October 2015 - Label: Strut Records


Sun Ra and His Arkestra

Gilles Peterson Presents..To Those of Earth And Other Worlds

Sun Ra and His Arkestra: Various line-ups.

Yet another Sun Ra double album, and Gilles Peterson deserves a thank you for gathering together this superb double album of material. If it seems close on Strut Records’ recent release of Marshall Allen’s collated In The Orbit Of Ra (already reviewed earlier this year) it doesn’t matter.

The DJ Gilles Peterson is not the kind of guy to waste time, he hasn’t here. To Those Of Earth And Other Worlds is a comprehensive collection covering Sun Ra classics, like a definitive version of We Travel The Spaceways and a previously unreleased live take of Space IsSun Ra Arkestra To Those Of Earth and Other Worlds The Place (John Gilmore’s tenor sax igniting the Universe), as well as true definitive rarities: a blistering live fragment called Moog Solo (live in France) and The All Of Everything (from Night Of The Purple Moon, which I’ve never been able to get my hands on before, my ears hearing it for the first time). There are old Sun Ra ballroom ballads; the rare Doo-Wop single Dreaming which was given to Peterson by John Peel, and Black Sky And Blue Moon, from the hard to fine The Nubians of Plutonia recording. Both are weirdly old-time yet futuristic, as intoxicating as dancing with Josephine Baker in a Martha Graham stage set with Ginger Rogers turning up in a space-suit.

Click here for Black Sky And Blue Moon from The Nubians of Plutonia.  

Overall there are 34 tracks, no one is short-changed here. For me finding The All Of Everything was like finding precious metal. I think Sun Ra is playing a synthesiser, though for all I know it could be some kind of electric harpsichord. There is no singing, no horns. The keyboard has bass and hand drums alongside in the mix. Half way through a flute is added, probably Marshall Allen. The point is musically, whatever the individual detail, the performance offers us the opportunity to focus on this great bandleader playing for himself, touching the gravity of his own music. Duke Ellington never ventured to place his precious fingers on the kind of keyboards that Sun Ra used, but these two peers (born within fifteen years of each other) shared similar skills. They were primarily orchestrators and composers, yet able to place themselves as soloist on material that is almost minimal in structure. Both pianists were relatively economical in technique yet absolutely devastating in what they actually conveyed. The All Of Everything has that kind of title and contains that range of depth.

I suppose if you wanted to be ‘picky’ about Gilles Peterson’s choice of tracks it could be said that he has tended to favour the ‘exotic’ rarities, particularly the big song based mantras (Calling Planet Earth, Mystery, Mr Ra, Strange Worlds) as well as the afore mentioned favourites Spaceways and Space Is The Place. I understand why, because he has unearthed (sic) real gems. However, there is no representation of the Sun Ra Arkestra playing any standards. Man, this band could run that stuff to the cleaners!!!  For instance, in 1989 the Arkestra (with all their gold star horns in the line-up – Pat Patrick, Marshall Allen, Danny Ray Thompson, James Jackson and the magnificent John Gilmore) recorded Gershwin’s But Not For Me for the Italian Black Saint label. Not only did Gilmore and crew stake out the tune in a way that would Sun Ramake a bow-tie man like Wynton Marsalis acknowledge their destiny, Sun Ra produced at least three piano breaks that James P Johnson would have wanted for himself. Yes, I know, Sun Ra’s oeuvre is so enormous it is hardly fair to carp about the absence of ‘covers’ when precious rare tracks abound.  I suppose what I’m pointing out is that Sun Ra and his many orchestras were not solely tied into an embrace of Space. Ironically, title accepted, Peterson does include the 1960 Sun Ra and His Myth-Science Arkestra performance of Space Loneliness.  This is an original Sun Ra blues played straight, smoking a George Hudson trumpet break and John Gilmore tenor solo that would have conquered Texas in the right circumstances. What a joy.

Sun Ra

It would also be stupid on my part not to mention India, an absolutely historic track. Hey, Mr Peterson this really is the Earth And Other Worlds. It is a karma-tic sensation.  In 1956 John Coltrane was still a year away from releasing a record under his own name, Ornette Coleman had two more years to go before his debut.  In 1956 India was part of Sun Ra’s album ‘Supersonic Jazz/Supersonic Sounds’, a totally unique recording for the time (actually for any time). It was marketed and distributed as an ‘indie’, it contained the first recorded example of an electric piano on vinyl (Sun Ra was using a very early Wurlitzer), and the subject matter itself was electric. Mahatma Gandhi had been assassinated eight years previously. Sadly such killings were to be reflected in how America was to respond to Civil Rights throughout the next decade. The part that Sun Ra played in highlighting that ‘change’ is well documented, long before a kid adopting the surname Dylan wrote the song The Times They Are A Changing on an acoustic guitar. There’s an argument to be said that Sun Ra reached Saturn before Neil Armstrong walked on the moon. He certainly plugged a piano into an amplifier long before Herbie Hancock came to the same conclusion. Listening to India today is rather like ‘an imagining’; crashing cymbals introduce a lopping rhythm suggesting a caravan crossing a continent, there is tympani not tabla, the Wurlitzer soundtracking colours, it could be '76 rather than '56.

Click here to listen to India.

Look, I know Sandy Brown Jazz has given the thumbs up before to various Sun Ra Arkestra recordings. All I can say is that Gilles Peterson leaves us no alternative but to do so again, a truly superb compilation.

Click here to listen to Space Loneliness from Sun Ra and His Myth-Science Arkestra (1960).

Click here for track list and to sample the album when it is released.


Steve Day www.stevedaywordsandmusic.co.uk


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Album Released: 15th September 2015 - Label: Calibrated


Mads Mathias

Free Falling

Would I recommend this album? Yes - check out the links below. I have one 'but', and that is because from a jazz perspective, I think there is a missed opportunity here. As a vocal album Free Falling delivers what many people will enjoy, a gently swinging, engaging recording with some up-tempo numbers and a ballad or two. So why do I say 'a missed opportunity' I'll try to explain ...

Back in 2008/2009, trombonist 'Fessor' Ole Lindgreen introduced me to an album by a group from Denmark named the Six City Stompers. The band featured Mads Mathias (vocal, saxophones); Peter Marrot (trumpet,Mads Mathias Free Falling flugelhorn); Peter Rosendal (følehorn marching trombone, piano); Regin Fuhlendorf (banjo, gui, lapsteel); kasper Tagel (bass) and Morten Ærø (drums, percussion). Of their debut album, Work Around The Rules, I wrote: 'Six City Stompers are unusual in that here are six young people playing and interpreting standards and also writing new music in a straightahead way not often associated these days with musicians of their age.' I really liked the album.

Work Around The Rules was followed in 2011 by Miss Floridor, and although it didn't grab me quite so much, there were some nice interpretations on numbers such as Didn't He Ramble (click here). Now Mads Mathias has Free Falling out under his own name. He promoted it at gigs in the UK in 2015 and will be back in 2016. The album is primarily a vocal album. The songs reflect the experience of Mads' other music with the Stompers in that they swing gently (except for one or two, such as the title track, where the tempo is upped). You think that the songs could well have been featured in musical shows, but you can't remember which. Of course, you can't, because all the songs are written by Mads except for the Standard, Sugar.

Click here for an introductory video to the album.

The other Stompers are there, but the album is a grander project. A large orchestra / big band backs six of the eleven tracks with some pleasing arrangements and a quintet is featured on four tracks. The slow, closing track, Mads MathiasColourblind, just has Mads with bassist Morten Ankarfeldt on bass. Mads' voice is very engaging with well-judged phrasing and on the title track he is joined by vocalist Sinne Eeg.

Mads Mathias
Photograph © Brian O'Connor

So why do I say a 'missed opportunity'? Mads Mathias is a very able saxophonist and his Stompers are equally jazz-versatile, but on this album, there is for me a noticeable lack of instrumental solos. Take Sugar; I find myself waiting for the saxophone to cut loose but just towards the end we simply get a brief couple of bars from the trombone. The opening track Fool For Love is well chosen as a number to draw you in (click here for the video) and is followed by Favourite Kind Of Girl that has saxophone and piano solos that illustrate what might have been. Don't Look At Me at track 3 also features a nice, albeit fairly brief saxophone solo. Track 5, the attractive ballad What Is Time features the breathy clarinet of Elith 'Nulle' Nykjær at the introduction and briefly during the song. Fair enough, the focus for the rest seems to have been on the arrangements, it is just that for me, I would have liked perhaps one or two less tracks and more musicians given space to work around the rules.

Click here for a live performance of Man In The Moon on DR2 Dagen TV.

Click here for a video of Mads singing the song Free Falling at a live gig with an extended saxophone solo.

Click here for the track list and to sample the album.

Ian Maund




Ten New Releases / Re-Releases


One From Ten

We spend time with an album from our list of new and reissued recordings below.


Different Orbits

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 NeweyJ-Sonics Different Orbits (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 Grace Rodsontrumpeter 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


The Ten

Our monthly ten suggestions of other new releases or re-releases.

(Although we might link to the digital albums to sample, the recordings are usually available as audio CDs as well where you might find more details).


Alan Barnes One For Moll


1. Alan Barnes - One For Moll - (Woodville)

[Click here for track list and to sample. Click here for more details]




Chick Corea and Bela Fleck Two


2. Chick Corea & Béla Fleck - Two - (Concord Jazz) - Double CD

[Click here for details. Click here for introductory video].




J-Sonics Different Orbits


3. J-Sonics - Different Orbits - (Lyte Records)

[Click here for track list and to sample. See One From Ten above].




Terry Brookmeyer Complete Studio Recordings


4. Clark Terry - Bob Brookmeyer Quintet - The Complete Studio Recordings - (Phono) - Double CD

[Click here for details and to sample. Click here to listen to Pretty Girl].




Brian Augurs Oblivion


5. Brian Auger's Oblivion Express featuring Alex Ligertwood - Live In Los Angeles - (Freestyle) - Double CD

[Click here for details and to sample. Click here for a 2013 live performance by the band].




Royal Bopsters Project


6. London, Meader, Pramuk & Ross - The Royal Bopsters Project - (Motéma)

[Click here for details. Click here for more information and to sample].




Montgomery Kelly 1965 Half Note Broadcasts


7. Wes Montgomery & The Wynton Kelly Trio - The Unissued 1965 Half Note Broadcasts - (Jazz On Jazz)

[Click here for details. Click here for review. Click here to listen to Impressions].




Mahavishnu Orchestra Birds Of Fire


8. Mahavishnu Orchestra - Birds Of Fire - (AudioFidelity) - SACD disc or less expensive MP3 download

[Click here for details. Click here for information about AudioFidelity. Click here to listen to earlier issue].




Judith & Dave O'Higgins Abstract Truth


9. Judith & Dave O'Higgins Present - The Abstract Truth Big Band - (JVG Records)

[Click here for details and to sample].




Sarah Vaughan Live In Tokyo


10. Sarah Vaughan - Live In Tokyo - (Domino Records) - Double CD

[Click here for details. Click here to listen to My Funny Valentine].







Help Me Information
Long distance Information
Give me mention, then we'll see
Help me find a party ...

with apologies to Chuck Berry (click here)

Can you help?

We regularly receive requests for information about musicians, music, etc. Responses sometimes come months after we have featured the request so we have started a separate page. Please click here to see if you can help ...



Gigs and Listings


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.Simon Spillett Quartet


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

Brian Molley


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 for Brian's website. Catch the Quartet at Edinburgh's Jazz Bar in Chambers Street on 11th November.

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 4Jazz FestivalJazzUK, 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.

Bands featured include Courtney Pine with Zoe Rahman, Arun Ghosh’s Sextet, Julian Arguelles’ Septet and Tetra, Black Top with Cleveland Watkiss, Budapest Café Orchestra, Christine Tobin’s Thousand Kisses Deep, Jazz Undead, and many more.

View the JazzUK website for the full programme.


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 Michael Janischon 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.Misha Mullov-Abbado band


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)
20th November - Burdall's Yard, Bath
22nd November - The Lighthouse, Deal (4.00 pm)
28th November - #4 Jazz Festival, Coventry (12.00 pm)
9th December - City Music Foundation, London (concert series)




Some November Gigs



It is impossible for us to include a list of all the gigs taking place during a month. I have decided to take an approach where we will look at venues geographically and give you their website links so you can check what is going on in a particular area.

I will choose some Gig Picks that you might find interesting - but check their website for other gigs. Where a venue doesn't have a website, then some details of what is taking place are included below.


Dublin: JJ Smyth's, 2, Aungier Street, Dublin 2. www.jjsmyths.com
Gig Pick - Sunday, 29th November - Richie Buckley Quintet.

Dublin: Sugar Club, 8, Lower Leeson Street, Dublin 2. www.thesugarclub.com
Gig Pick - Thursday, 19th November - Christian Scott Quintet.

Dublin: National Concert Hall, Dublin 2. www.nch.ie
Gig Pick - Friday, 13th November - Gospel Greats.

Dublin: Flanagan's (Basement) Piano Bar, 61 Upper O'Connell Street, Dublin 1. www.flanagansdublin.com

Wicklow: The Hot Spot Music Club, Harbour Lodge, Bayswater Terrace, Cliff Rd, Greystones, Co. Wicklow. www.thehotspot.ie
Gig Pick - Sunday, 1st November - Proteus Jazz Band.

For other regular jazz sessions in Dublin contact Ollie Dowling from Quality Music Tel: 00 353 87 287855


Scotland: The Blue Lamp, Aberdeen, 121 Gallowgate, Aberdeen, AB25 1BU. www.thejazzbar.co.uk
Gig Pick - Thursday, 5th November - Samuel Eagles Quartet.

Scotland: Fife Jazz Club, The Woodside Hotel, Aberdour. email: fifejazzclub@yahoo.co.uk

Scotland: The Jazz Bar, Edinburgh, 1a, Chambers Street, Edinburgh, EH1 1HR. www.thejazzbar.co.uk
Gig Pick - Friday, 6th November - Sam Eagles Quartet.

Scotland: Glasgow Art Club, 185 Bath Street (at Blythswood Street), Glasgow, G2 4HU www.bridgejazz.co.uk


Wales: Dempsey's, Cardiff, 15, Castle Street, Cardiff, CF10 1BS. www.jazzatdempseys.org.uk
Gig Pick - Wednesday, 11th November - Kristian Borring's Acrobats.


Lancashire: Ribble Valley Jazz and Blues Club, The Atrium, Clitheroe, Lancashire, BB7 2DL. www.rvjazzandblues.co.uk
Gig Pick - Friday, 20th November - Partisans.

Newcastle-upon-Tyne: The Jazz Cafe, 25 - 27 Pink Lane, Newcastle-upon-Tyne, NE1 5DW. www.jazzcafe-newcastle.co.uk
Gig Pick - Friday, 27th November - Manjula.

Liverpool: The Capstone Theatre, Shaw Street, Liverpool, L6 1HP. www.thecapstonetheatre.com
Gig Pick - Wednesday, 4th November - Julian Arguelles' Tetra .

Yorkshire: Seven Jazz, Leeds, Seven Arts, Chapel Allerton, Leeds, or Inkwell Arts, 31 Potternewton Lane Chapel Allerton, Leeds. www.sevenjazz.co.uk
(Includes: Seven Jazz Improvisation Group, Seven Jazz instrumental workshops and Seven Jazz Voices Choir).
Gig Pick - Sunday, 15th November - Al Wood Quintet - Benny Carter Meets Gerry Mulligan - 1.30 pm at Seven Arts.

Yorkshire: Jazz In The Spa, Boston Spa, Village Hall, High Street, Boston Spa. www.jazzinthespa.co.uk
Gig Pick - Saturday, 14th November - Swing Commanders.

South Yorkshire: Sheffield Jazz, Various venues in Sheffield. www.sheffieldjazz.org.uk
Gig Pick - Thursday, 19th November - Beats And Pieces Big Band. (At SUSU Auditorium).

Manchester: Matt and Phred's, 64 Tib Street, Northern Quarter, Manchester M4 1LW. www.mattandphreds.com
Gig Pick - Thursday, 12th November - Josh Kemp's Organ Band.

Birmingham: Birmingham Jazz Listings www.livebrum.co.uk/events/jazz
Gig Pick - Thursday, 26th November - Jazz At The Movies. (At Solihull Arts Complex).

Essex: The Electric Palace, Harwich, King's Quay. Harwich. www.electricpalace.com
Gig Pick - Thursday, 26th November - Brian Carrick's Algiers Stompers.

Essex: North Weald, North Weald Village Hall, CM16 6BU Essex
Third Saturday of every month - 12.30 pm to 3.00 pm. Jack Free's All Star Band with Jack Free (trombone), Peter Rudeforth (trumpet), John Crocker (clarinet), Tim Huskisson (piano), Murray Salmon (bass), Martin Guy (drums).

Buckinghamshire: Amersham Jazz Club, Beaconsfield SYCOB FC HP9 2SE. www.amershamjazzclub.co.uk
Gig Pick - Wednesday, 25th November - Frog Island.

Oxford: The Bullingdon, 162 Cowley Road, Oxford, OX4 1UE www.thebullingdon.co.uk
Gig Pick - Tuesday, 17th November - Guitar Summit (Free admission)

Oxford: The Oxford Jazz Kitchen, The Crown, Cornmarket Street, Oxford . www.oxfordjazzkitchen.com
Jam Sessions every first Wednesday of the month, 8.30 pm - 11.00 pm with Trish Elphinstone (saxophones), Peter Dixon (guitar) and Tim Richardson (drums) at
The St. James Tavern, Cowley Road, Oxford

Oxford: The Half Moon, The Half Moon, St Clements, Oxford.
Last Wednesday of each month - The Trish Elphinstone Quintet.


London: King's Place, 90 York Way, London, N1 9AG. www.kingsplace.co.uk
Gig Pick - Friday, 13th November - Laura Jurd - DINOSAUR (UK) / LABtrio (BE).

London: LUME, Hoxton, The Long White Cloud, 151 Hackney Road, London E2 8JL. www.lumemusic.co.uk
Gig Pick - Sunday, 1st November - Cath Roberts/Seth Bennett/Andrew Lisle & Tom Taylor/Rob Luft

London: Pizza Express, Soho, 10, Dean Street, London W1. www.pizzaexpresslive.com
Gig Pick - Monday, 16th November - Georgia Mancio 'Live At Revoice' album launch.

London: The Spice Of Life, Soho, 6, Moor Street, London W1. www.spicejazz.co.uk
Gig Pick - Monday, 17th November - Tom Green Septet.

London: Ronnie Scott's Club, Soho, 47 Frith Street, London W1. www.ronniescotts.co.uk  
Gig Pick
- Wednesday, 18th November - Freddie Gavita Quartet (late show).

London: The 100 Club, 100 Oxford Street, London W1D 1LL. www.the100club.co.uk (The 100 Club only occasionally stages jazz gigs these days)

London: The Forge, Camden, 3-7 Delancey Street, Camden, London NW1 7NL. www.theforgevenue.org
Gig Pick - Monday, 16th November - Tom Hewson's Treehouse - Celebrating John Taylor.

London: Chickenshed Theatre Jazz Bar, Southgate, Chase Side, Southgate, London N14 4PE. www.chickenshed.org.uk
Gig Pick - Friday, 13th November - Liane Carroll.

London: The Vortex, 11, Gillett Street, N16 8AZ. www.vortexjazz.co.uk
Gig Pick - Friday, 27th November - Norma Winstone joins forces with Liam Noble and Mark Lockheart.

London: Club Inégales, 180 North Gower Street (corner of Euston Street). www.clubinegales.com

London: Southampton Arms, Highgate Road, North London
Wednesdays, 8.00 - 10.00 pm: Dave Burman (piano) and Dave Eastham (alto / clarinet)

London: Jazz In The Round, The Cockpit, Marylebone, Gateforth Street, Marylebone, London NW8 8EH. www.thecockpit.org.uk
Gig Pick - Monday, 30th November - Iain Ballamy's Food; Grew and Watts; J Sonics.

London: Omnibus, Old Clapham Library, 1 Clapham Common Northside, London, SW4 0QW. www.omnibus-clapham.org
Gig Pick - Sunday, 15th November - Ralph Wyld's Mosaic.

London: 606 Club, 90 Lots Road, Chelsea, London SW10 0QD. www.606club.co.uk
Gig Pick - Wednesday, 4th November - Sara Dowling; Owen Dawson's Big Bad Wolf.

London: The Bull's Head, 373 Lonsdale Road, Barnes, London, SW13 9PY. www.thebullshead.com
Gig Pick - Sunday, 29th November - NYJO Nonet - 'Legends of Jazz: John Coltrane'

London: Putney, The Half Moon, 93 Lower Richmond Road, Putney, SW15 1EU.
Dick Laurie's Elastic Band. The band now plays the first Sunday and third Sunday of every month.
Sunday, 1st November and Sunday, 15th November - 1.00 pm - 4.00 pm

London: e17 Jazz, Walthamstow, Orford House Social Club, 73 Orford Road, Walthamstow, London E17 9QR. www.e17jazz.com
Gig Pick -Tuesday, 24th November - Iain Ballamy with the John Turville Trio.

London: The Jazz Nursery, St Mary Overies Dock, Cathedral Street, London SE1. www.jazznursery.com


Kent: 144 Club, Nr Tunbridge Wells and Rochester, Finchcock's Musical Museum, Goudhurst, TN17 1HH. www.finchcocks.co.uk

Kent: The Roffen, New Road Rochester, ME1 1DX. www.144club.co.uk

Surrey: Harri's Jazz, Shepperton, Bagster House, Walton Lane, Shepperton, TW17 8LP. www.harrisjazz.com

Surrey: Thames Ditton, The George and Dragon, High Street, Thames Ditton, KT7 0RY.
Every Tuesday - The Geoff Driscoll Quartet - Geoff Driscoll (sax), Alan Berry (piano), Mike Durrell (bass), Don Cook (drums) plus guests - 8.30 pm

Surrey: Watermill Jazz, Dorking, Friends Life Social Club, Pixham Lane, Dorking, RH4 1QA. www.watermilljazz.co.uk
Gig Pick - Thursday, 19th November - Laurence Cottle Big Band.

Sussex: Chichester Jazz Club, Pallant Suite, 7 South Pallant, Chichester, PO19 1SY. www.chichesterjazzclub.co.uk
Gig Pick - Friday, 20th November - Simon Allen Quintet.

Sussex: Brighton Jazz Club, www.brightonjazzclub.co.uk

Gloucestershire: Cirencester, Kings Head Hotel, 24 Market Place, Cirencester GL7 2NR. www.kingshead-hotel.co.uk

Wiltshire: Bradford-on-Avon, The Fat Fowl, Silver Street, Bradford on Avon, near Bath, Wiltshire BA15 1JX.
Monthly residency by two very talented musicians, pianist John Law and saxophonist Nick Sorensen. 12.30 pm to 3.30 pm and admission is free

Bristol: The Be-Bop Club, The Bear, Hotwell Road, Bristol, BS8 4SF. www.thebebopclub.co.uk
Gig Pick - Friday, 27th November - Kristian Borring Quartet .

Somerset: Ilminster Arts Centre, The Meeting House, East Street, Ilminster, Somerset, TA19 0AN. www.themeetinghouse.org,uk
Gig Pick - Friday, 15th November - The Josh Kemp Quartet.

Dorset: Bridport Arts Centre, South Street, Bridport, DT6 3NR. www.bridport-arts.com
Gig Pick - Friday, 20th November - Rob Terry Trio.

Dorset: Sound Cellar, Poole, The Blue Boar, 29 Market Close, Poole, Dorset, BH15 1NE, www.soundcellar.moonfruit.com
Gig Pick - Thursday, 19th November - Dee Byrne's Entropi.

Cornwall: St. Ives Jazz Club, Western Hotel, Gabriel Street, St. Ives, Cornwall, TR26 2LU. www.stivesjazzclub.com



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 imagesDavid Sinclair Sonny Rollins 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 PHOP imageBBC 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 aJazz Books 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 drbobmoore-inbiltec@supanet.com


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: royheadland@gmail.com.


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