Has Stuart Nicholson got a crystal ball? Back in the April issue in the interview with Tim Garland talking about his new album One, he nailed it with the closing sentence: “It’s a truly memorable album that’s head and shoulders above any other British jazz recording of the last couple of decades.” As word spread, ears perked up and, come this year’s annual Jazzwise Album of the Year Critics Poll, Nicholson clearly wasn’t the only believer. Garland’s One racked up more points than any other release of the past 12 months. And deservedly so. This modest but distinctly world class saxophonist, composer and bandleader has been acknowledged in America by a Grammy Award and lengthy tours with Chick Corea and Joe Locke, but previously has perhaps never quite received his just recognition in the UK, until now. Jon Newey
A new group and a new beginning for Tim Garland in what is the finest album by a British jazz musician for quite some while. First, a word about Garland’s virtuoso playing on tenor and soprano saxes, which has reached a level of excellence and maturity that is truly world class. On soprano he offers an evenness of tonal density throughout the registers of the instrument; nothing sounds pinched or forced, and while his articulation is precise and accurate, each note rings through with remarkable clarity even in legato passages. Expressing himself in melodic, rather than pattern-based, improvisation, his playing is virtually cliché free, often using ‘compositional’ devices such as the use of the rising line to create a feeling of tension. This feeling is also reinforced by the occasional use of side-slipping.
On ‘Bright New Year’ he plays with such freedom within form it represents a striking example of exemplary contemporary jazz improvisation. Equally, on ‘Colours of Night’ he exhibits a degree of both technique and taste (the two rarely go hand in hand) that few in jazz can equal. On tenor saxophone he retains this melodic lucidity, evenness of tonal density (from bell tones to false-fingered high notes at the extreme of the saxophone’s range) and on ‘The Eternal Greeting’ he gives a virtual master class in manipulating the rising line to potent and dramatic effect.
Garland has developed the story-telling privilege that is the province of the great jazz improvisers – a Garland solo is not a breakneck bunch of notes thrown at listeners for them to try and make sense of, but solos of architectonic construction that have a beginning, a middle and an end and take the listener on an absorbing journey. But even mastery of your chosen instrument at the level Garland has achieved (and which few in jazz can match) is not enough in jazz today. The challenge is to create an effective context to give expression to the improvisers art. Here again Garland scores, with an ensemble that has done away with the traditional piano-bass-drums role of the jazz rhythm section and placed the rhythmic role in the hands of keyboards, Ant Law’s eight-string guitar which covers the bass notes and Asaf Sirkis’ innovative drums/ percussion. This fresh approach – a development of the rhythmic approach adopted by his previous group Lighthouse – is integral to Garland’s compositional ingenuity with pieces written in a way that shows this unusual approach to rhythm to best advantage. Here, Asaf Sirkis emerges as an unsung hero with a performance that is surely world class. Rebello and Law are exemplary too, offering maturity and flair in both ensemble and solo that contribute significantly in making this album special. Stuart Nicholson
Branford Marsalis Quartet with Kurt EllingUpward Spiral
It is quite remarkable how at home Kurt Elling makes himself in the Branford Marsalis Quartet, so much so that Marsalis later said he felt the singer was a natural fifth member of the group. Although Elling admitted to a little bit of nervous tension prior to the session – and why not, the group has been around since 1996 with very few changes in personnel and has established a tight little musical world of their own – the singer actually comes up with one of his best performances on record.
Working out on a collection of handpicked songs, most of which even the most diehard jazz fan will not have heard before, Marsalis’ expanded group comes up with a real ‘album’ experience, with a performance arc that leads from one song into the next without disjunction that together create an absorbing musical journey. Highlights include ‘I’m a Fool to Want You’, a duet between singer and saxophonist and Sting’s ‘Practical Arrangement’, while Elling makes a fine job of Sonny Rollins’ ‘Doxy’ using Mark Murphy’s lyrics. Stuart Nicholson
DinosaurTogether, As One
Electric Miles is still terra incognita for some; the point he left jazz, or went somehow mad. Bitches Brew’s brooding, splintered paranoia isn’t on Laura Jurd’s agenda. The abrasive tone of Elliot Galvin’s Fender Rhodes, though, and the way Jurd’s trumpet wraps mournful tendrils around the bassline on ‘Awakening’, after distantly roaring as if across a primeval forest clearing, inevitably recall Corea and company roughly sculpting a new sonic world. Rechristening her regular quartet Dinosaur gave fair notice of their thrilling power live, where they’re as likely to fly into soulful Sly Stone or JB’s terrain.
Their debut album, though, is a considered studio production, with a sense of space and shape. Though all Jurd compositions, Galvin often takes the lead. Switching to Hammond for the slow-rolling funk of ‘Extinct’, he’s back on Fender for progsoul riffing on ‘Primordial’ which recalls Van der Graaf Generator’s Hugh Banton. Then he slips below the tune’s surface on Hammond, becoming its smooth engine as Jurd sunnily soars, and Dinosaur stretch and strut. Jurd also offers warm balm on ‘Robin’. Her band’s focused joy replaces the darker eddies Miles traversed. Nick Hasted
Donny McCaslinBeyond Now
In the months following David Bowie’s death, musical tributes started to pour in, among them the disastrous Bowie Prom in September at the Royal Albert Hall. So when the real thing comes along you know it’s time to rejoice. Beyond Now is the outstanding new recording by the New York-based saxophonist Donny McCaslin with the same line-up that appeared on Bowie’s swansong Blackstar. It’s an exhilarating, heart-stirring hymn to a rock’n’roll icon, a rare breed of mega star who absorbed jazz undiluted into his genre-bending art pop aesthetic. It’s a love letter too, to someone who had a huge impact on these jazz musicians as both artist and human being.
From the epic dreamy pop-jazz soundscapes of ‘Bright Abyss’ and ‘Remain’, to the hurtling punk jazz of ‘Faceplant’ and opener ‘Shake Loose’, Lindner’s spiky synth-surge, the Guiliana-Lefebvre grooving juggernaut and McCaslin’s thrillingly ballistic sax improv make for a decidedly diverse and contemporary-sounding offering packing plenty of heat. Elsewhere, eerily inventive covers of the Bowie-Eno ‘A Small Plot of Land’ (vocals by Jeff Taylor) and Low period instrumental ‘Warszawa’ come in for tasteful treatment too. If a rock star has come up with one of the strongest jazz-infused releases of the year, Beyond Now is right up there with it. Selwyn Harris
Brad MehldauBallads and Blues
Following the epic, turbo-charged one man showcase on the retrospective 10 Years Solo Live and the exhilarating contemporary prog electronica fireworks of his duo Mehliana’s Taming the Dragon, Brad Mehldau returns to the more intimate format of the acoustic piano trio on which he initially built his inimitable reputation.
Blues and Ballads picks up essentially where Where Do You Start? in 2012 left off, with an entire covers collection featuring the usual suspects from The Beatles’ ‘And I Love Her’ (also featured on 10 Years Solo Live) and Paul McCartney’s ‘My Valentine’ from 2012, through to an exquisitely expressive take on Buddy Johnson’s widely-covered sleepy blues standard ‘Since I Fell for You’. More highlights include his rendition of the hip Largo producer Jon Brion’s sweet miniature ‘Little Person’ taken from his score to the film Synecdoche, New York and the sideways swing of the Charlie Parker blues ‘Cheryl’. Mehldau’s unique craftsmanship is undisputed but he also brings a real emotional depth to Blues and Ballads. Selwyn Harris
Charles Lloyd & The MarvelsI Long To See You
I Long to See You marks a change of pace for Charles Lloyd; there isn’t anything quite like it in his discography since this an album of country influenced mood music. He returns to two of his originals from the 1960s in ‘Sombrero Sam’ and ‘Of Course, Of Course’, to his ECM years with ‘La Llorona’ and contributes a fresh original in ‘Barch Lamsel’, the album highlight among a repertoire that ranges far and wide to variable effect.
Bob Dylan’s ‘Masters of War’ could have been successfully edited to half its length, for example, in its present form an amiable noodle, and this seems to be the destiny of several songs. Part of the problem is the laid back playing of Bill Frisell, who sounds as if he could barely get out of bed in the morning. Lloyd plays well, but he does need someone to bounce off. There are nice moments: ‘Abide With Me’ would please the Anfield faithful, ‘All My Trials’ has elegance as long as Lloyd is at the microphone, while Willie Nelson’s ‘Last Night I Had the Strangest Dream’ somehow works in the context of the album. Dear old Norah Jones – she who bank rolled the survival of the Blue Note label – is unmistakably Norah, if you like that sort of thing. Great for iPod listening since this functions well as undemanding background music. Stuart Nicholson
EST SymphonyEST Symphony
It would have been Esbjörn Svensson’s next project. Classically trained at Stockholm’s Royal College of Music, the work of Bach, Mozart, Beethoven, Debussy and Shostakovich was close to his heart (I once heard him warming up for the Tuesday Wonderland recording session in the Atlantis Studio in Stockholm with Shostakovitch’s ‘Piano Concerto No. 1 Op. 35’), it was perhaps inevitable he would hanker to hear his music performed by a symphony orchestra. Sadly, it was not to be. However, this posthumous realisation of his ambition by his former colleagues in EST, Dan Berglund and Magnus Öström, and produced by EST’s former manager Burkhard Hopper is an impressive piece of music from whatever end of the musical spectrum you choose to gaze at it and surely something that would have given him a kick.
Arranged and adapted for symphony orchestra by Hans Ek, his writing has succeeded in capturing the emotionally engaging element of Svensson’s playing that appealed to those both inside and outside the jazz constituency. He has even managed to evoke the subtle electronics that Svensson occasionally used, creating an ambient haze of strings to surround the melody. In 2003, Svensson himself wrote three arrangements (Dan Berglund three also) for a project with 16 strings at Jazz Baltica in 2003, and one of Svensson’s arrangements, ‘Dodge the Dodo’, is enlarged by Ek here. On ‘When God Created the Coffee Break’ Ek has inserted a Svensson solo transcribed from Live in Hamburg for orchestra and it is fascinating how Svensson’s improvisation sounds like a composition in its own right and highlights how he actually seems to ‘play’ silence, which left windows through which we could enter his musical world. ‘The EST Prelude’ that opens the album contains another orchestrated session solo, and hooks you right from the beginning. Stuart Nicholson
Impossible GentlemenLet’s Get Deluxe
The Anglo-American supergroup The Impossible Gentlemen’s third CD on Basho Records hits you right between the eyes with its mix of seductively sing-a-long melodies, classy arrangements and tastefully succinct improvisation. The recording sees an extension of the instrumental palette with the addition of woodwind all-rounder Iain Dixon and Gwilym Simcock at his most versatile on various keyboards and tuned percussion instruments, as well as acoustic piano. The extra layer of sound is subtly and effectively woven into the arrangements as opposed to providing background fill.
The Metheny Group-like opening title track’s memorable hook has the new full-time bassist and longtime Pat Metheny Group member Steve Rodby laying down one of the most deliciously snaky electric funk bass lines you’ll hear for a long time. There are echoes of Chick Corea and Return to Forever on ‘A Fedora for Dora’ and it’s not hard to imagine Donald Fagen singing raspy vocals over the excellent ballad ‘It Could Have Been A Simple Goodbye’, the co-writers Simcock and Walker’s tribute to pianist John Taylor.
The Impossible Gentlemen might not feature too high on the hipster scale compared to an electric Brit jazz ensemble such as Troyka but the Sco-influenced grunge-funk of ‘Dog Time’ with growling dog samples is something that the aforementioned trio might well have been happy to come up with. ‘Terrace Legend’, about an unlikely Stoke City FC kit man, has a Zawinul-esque African-flecked groove while the contrasting closing piece ‘Speak To Me Of Home’ is reminiscent of Simcock’s sometime pastoral chamber trio Acoustic Triangle, with Dixon taking his only solo on soprano sax very well. It’s a brighter, more uplifting and assertive album compared with the previous two, but just as sophisticated. Selwyn Harris
The double bass jazz maestro Dave Holland turned 70 in October but shows no signs of slowing down. In fact, he seems to have turned up a gear or two instead; his recent work in education, live touring schedule and studio recordings bear that out. Last year saw him record an intimate straightahead duo album The Art of Conversation with Kenny Barron and before that, one of the best jazz recordings of 2013 with his new ‘electric’ fusion group Prism.
The Aziza collective grew out of discussions between Holland and Chris Potter, an influential saxophone musical partner of his since the 1990s. As with Prism, the electric guitar is a key building block of the ensemble but this time it’s the Benin-born Lionel Loueke, another pedigree individualist, who applies his unique mix of African folk music, contemporary electric sonic effects and jazz to the recording. His acid funk composition ‘Aziza Dance’ has a brilliantly shaped solo with tasteful keytar-like sound effects, somewhat reminiscent of the pianist Hiromi. Chris Potter’s lilting folky Caribbean ‘Summer 15’ has Loueke sounding more like an African Pat Metheny and the saxophonist’s eastern-flavoured ‘Blue Sufi’ really hits the spot with its 1970s-era Chico Hamilton-ish latin fusion sound and Loueke’s driving psych jazz-rock guitar. It hasn’t quite the same sense of adventure or raw group cohesion as his Prism CD, but it’s top level groove-jazz playing all the same. Selwyn Harris
Ten years into their life as an increasingly tight-knit trio and it’s perhaps no surprise that Phronesis have named their latest album after an “apparent displacement of an observed object due to a change in the position of the observer,” or Parallax. Indeed, to an outside observer they appear to be at the top of their game, rising to the summit of the European piano trio pile thanks to consistently incendiary live shows and a string of equally compelling (sometimes live) recordings. Yet it’s tough at the top and the alternative perspective offered up on Parallax is of a band who, far from resting on their laurels, burst out of the gate with a set of nine polished yet propulsive new tunes recorded in a single day at the hallowed Abbey Road Studios. Having been at one of their adrenalin soaked gigs – one of three recorded – that resulted in their previous release, Life To Everything, this writer can attest to the near telepathic empathy that exists between bassist Høiby, pianist Neame and drummer Eger when the red recording light is on. Theirs is a hive-mind that thinks as one and navigates the trickiest of time signatures, displaced beats, lurching unison riffs or swerving solos with ease.
The good news with Parallax is that the move to a studio environment has done nothing to dampen the zeal with which they tackle the music, this in part thanks to the band playing the entire album beginning to end three times and then selecting the best takes for the final release. This has brought a strong narrative arc to the songs, with opener ‘67000 MPH’ careering along with freewheeling frenetic finesse. This is among several contrapuntal dust-ups across the set including Høiby’s atypical ‘Stillness’, Anton Eger’s karate-chopping drum capers on ‘Manioc Maniac’, and the hypnotic drive of closer ‘Rabat’. More meditative pieces include Neame’s chiming ‘Kite for Seamus’ and Høiby’s midnight mood on ‘A Silver Moon’. Through it all the band’s willingness to defer individual showboating for a combined sonic attention to detail has rarely sounded better: solos weave into a continuum of sound, never sacrificing a cheap technical thrill for a substantial musical statement. Far from bookending 10 highly successful years together, Parallax opens a new chapter full of musical riches from this most complete and compelling of bands.
Kit Downes & Tom ChallengerVyamanikal
The idea of a ‘genius loci’, or spirit of place, permeates these recordings of church organ, saxophone and indomitable avian choirs. Keyboardist Kit Downes and saxophonist Tom Challenger are documented here locked deep in conversation with their surroundings – the churches of the Suffolk countryside – while nature, in turn, reciprocates with plenty of bonus backchat. The two elements settle on an unfolding habitual consensus detailed in moans and whistles. Cavernous drones – not unlike those pursued by Pauline Oliveros with her Deep Listening Band – resonate around the cloisters before the calming chirrups of birdsong break through (as on ‘Jyotir), slowing the pace down to Béla Tarr-like cinematic speeds (‘Maar-ikar’).
There’s a real sense that this meditative music is being borne on the breeze, riding a carousel of glorious vectors above our heads. While writers such as Iain Sinclair and WG Sebald have previously sought to map out their own personal psychogeographies of England, Kit Downes and Tom Challenger have created something far more universal, a democratic tone poem, where every imagination is invited to chart its own Suffolk landscape.
Jazz At Lincoln CentreLive In Cuba
The stated mission of the Jazz at LCO is “to entertain, enrich and expand a global community for jazz through performance, education and advocacy”. These very worthwhile if slightly high-flown aims, apparent in the orchestra’s recent UK visit with its concentration on support for young players amidst its more specific concert commitments, were also carried forward when the orchestra visited Cuba in 2010, this very spirited double-album a record of their weeklong sojourn in Havana.
It took President Obama’s lifting of travel restrictions between the US and Cuba to get them there. Once in place, the band spread the word all over the city, working again with youngsters and performing a series of latin-flavoured pieces by band members, a selection of Ellingtonia, a hint of New Orleans and a bow to the innovations of Dizzy Gillespie with a nine-minute version of ‘Things to Come’, taken a tad too fast, all caught here. Much is made in the lengthy booklet note of the common musical heritage between the two communities, the evident enthusiasm of these local audiences adding support to the theory. Or maybe they’d just been starved of this righteous stuff. They clearly approved of Henriquez’s ‘2/3’s Adventure’ with its move into guajira rhythm, with Printup playing high while Irby’s bluesy arrangement of ‘Baa Baa Black Sheep’ may have surprised them but Rampton’s extended solo is a joy, as is Irby’s poised alto. Wynton’s ‘Vitoria Suite’ recalled his Ellington debt as does ‘Inaki’s’ Decision’, his conversational trumpet foregrounded. Thereafter, the incorporation of local artists adds spice where necessary. Otherwise, there’s a ton of music here, a vivid advertisement for the continuing vitality of LCJO jazz, catholic in its choices, eclectic in the variety of influences on offer but simultaneously joyous and celebratory, too. Temperley is magnificent on ‘Sunset and the Mocking Bird’, Crenshaw proves to be a pretty effective blues shouter on ‘I Left My Baby’ and Wynton solos at length throughout. What a mission and what an outcome! Peter Vacher
Joshua Redman and Brad MehldauNearness
The influential contemporary pianist and saxophonist’s musical relationship goes back to the early 1990s. It was then that a fledgling Brad Mehldau, who was fresh out of New York’s New School, got his first break touring and recording with a trend-setting Redman band that featured Christian McBride and Brian Blade. They’ve recorded infrequently since; Redman was a notable contributor to Mehldau’s 2010 Highway Rider and Mehldau on Redman’s sax-and-strings album Walking Shadows in 2013. But they did get to perform in a more intimate duo setting as well, first in 2008 and then for a run of concerts in Europe in 2011, a selection of which make up the tracklist on this outstanding new release Nearness, their first as a duo.
The opening Charlie Parker/Benny Harris’ ‘Ornithology’ thunders along at rocket pace but unlike other contemporary jazz interpretations of bebop standards, the tune is reinvigorated rather than violated. The pair’s contrapuntal to and fro-ing is breathtaking in its heated exuberance and sharp tiki-taka exchanges, brilliantly and unpredictably resolving what seems to be musical dead-ends. On another bebop classic, Thelonious Monk’s ‘In Walked Bud’, Mehldau’s playful one-handed motifs and inventive re-harmonising underscores Redman’s shapely swinging bop narrative. The pianist’s Beatles-ish ‘Always August’ has a deeper bluesy intimacy in this setting compared to the version on Highway Rider. The less buoyant ‘Mehlsancoly Mood’ is Redman’s punning homage to his partner who’s in accompanying mode, the descending bass movement reminiscent of a song by Nick Drake, a Mehldau favourite. Redman’s luxurious, smoky tones on the title track, ‘Nearness of You’, echoes the old swing sax masters while a 15-minute near symphonic version of Mehldau’s ‘Old West’ demonstrates the pianist’s attachments to the ‘romantic’ classical era. There’s none of the boring self-indulgent battle of wits or in-jokes that can occur when jazz superstars decide to have a matey get together; it’s all about serving the song and playing in the moment. Selwyn Harris
John ScofieldCountry For Old Men
I cannot begin to comprehend how you deal with the death of a son. For over two years the Scofield family and friends have journeyed the earth fulfilling their son’s wish to have his ashes scattered across the world. But there’s something fitting that, as that global project concludes, Scofield has created a record about home, roots and family. Country at its best tills the most fundamental of fields, the relationships with our nearest and dearest, and few are as well qualified as Scofield to explore that territory. Sometimes he plays straightahead, true to the melody as on the gorgeous ‘Mr Fool’; sometimes he cuts to the bare quick of the song’s emotional heart, as on the bop breakdown of ‘I’m So Lonesome I Could Cry’. It’s hard to imagine a more appropriate band for Scofield: Goldings is gold dust throughout, whether adding Larry Young-type swells on the Hammond or paying tribute to Johnny and The Hurricanes on an uproarious take on ‘Red River Valley’. But it’s his spare piano, downright Monkish on the joyous ‘Mama Tried’ that calls forth broad smiles. Stewart and the surely immortal Swallow are there for the music at all times, tight and bluesy on a heart-breaking ‘Wayfaring Stranger’, and attacking ‘Jolene’ like it was the first time they’d heard it. This isn’t country for old men. This is a musical country for us all. Andy Robson
Jeremy PeltJive Culture
Recorded last September, released in the States in January and finally available here, but by now, Pelt will have been back in Brooklyn’s Systems Two studio making his 2017 CD. Jive Culture is surely his most important album so far and confirms this reviewer’s opinion that, despite the number of excellent players around, Pelt is the most creative trumpeter on the scene today. And this is no ordinary quartet. The irrepressible Ron Carter contributes some of his very best work since the Davis Quintet days. You can feel that he knows it’s a special date. Billy Drummond, who in a way was the catalyst for the recording, plays a very important role in the session, with hard-hitting but sensitive, intuitive fills, which urge Pelt to play so emotively, and he helps to build the tension and unexpected climaxes of the performances. Danny Grissett is arguably the most sympathetic pianist for Pelt’s compositions. The least well-known member of the group, he is inspired by the occasion and comes up with stimulating solos and encouraging comping throughout.
Pelt brought in five new originals, some relatively simple, others with much greater depth. The former include the opener ‘Baswald’s Place’, ‘Akua’ and Carter’s tune ‘Einbahnstrasse’. The latter, later in the CD, are probably the standouts – ‘The Haunting’, the brilliant ‘Rhapsody’ and the closing, restless ‘Desire’. The two remaining tracks are unhackneyed standards – Cole Porter’s ‘Dream Dancing’ (the arrangement of which almost sounds like a Pelt original) and Jeremy’s ballad feature, ‘A Love Like Ours’, played, as always, with heart-breaking tenderness. This is a brilliant record with four outstanding performances. Tony Hall
Bill FrisellWhen You Wish Upon A Star
As with his previous 2014 release Guitar in the Space Age, Bill Frisell continues to mine 1950s-60s popular music culture for inspiration on his new recording for OKeh, the recently revamped Sony imprint. This time though he brings his inimitable signature to film and TV themes predominantly from the same era. His band is the guitar trio which recorded Beautiful Dreamers in 2008, with the addition of the distinctive Thomas Morgan on bass and sometime collaborator Petra Haden on vocals. The strongest selections are the suite-like arrangements of themes including Elmer Bernstein’s haunting ‘To Kill a Mockingbird’ which is given a country and folk-rock music makeover with Frisell and viola player Eyvind Kang setting it off beautifully. ‘Fairwell to Cheyenne’ gives Ennio Morricone a reggae-ish twist and the themes from Psycho benefit from some Frisellian humour. Petra Haden sings wordless vocal on Morricone’s ‘Once Upon a Time in the West’, and the lyrics of title themes such as ‘You Only Live Twice’, ‘Moon River’ and the album’s title track, songs that are by now over-familiar are refreshed somewhat with a dry sentimentality and a vocal that’s tuned sensitively to Frisell’s arrangements. It’s a beautifully-sculpted chamber strings soundscape and the guitarist’s artfully layered, soulful mesh of overtones, rockabilly twang and other effects he’s made his own comes with his usual impeccable taste. Selwyn Harris
Dhafer YoussefDiwan of Beauty and Odd
Tunisian oud player-singer Youssef has proved two things over the best part of two decades: that, firstly, he, like the best bandleaders, can assemble the most effective, often international collaborators, and secondly, his overall creative drive remains undimmed. There is some significance to be read into the cultural identity of this latest project insofar as it is very much ‘the New York’ album, defined by the presence of a quartet that represents the riches of that city’s jazz scene in no uncertain terms. Yet the overarching conceptual premise of the album – compositions of haunting lyricism within the framework of relatively unusual time signatures – is sufficiently strong to make you question exactly what a New York combo is supposed to sound like. Williams, Guiliana, Parks and Akinmusire play with the kind of pin-drop delicacy that one might associate with classical musicians at various points on the set, crafting ambiences that are cinematic in shadow play and understatement. But they also kick robustly on the higher tempos, locking into the wavering beats so organically as to make the uneven numbers ‘felt’ as much as they are heard. As good as the band is, and as skillfully as the arrangements uphold an evolutionary line from Moorish to Spanish music to an undefined space that acknowledges both ambient electronica and soundtracks, Youssef’s immense personality is well to the fore. His oud playing has a stark rhythmic drive that is offset by the majestic, aerial quality of his voice, and it is a combination that pays dividends on this affecting set of songs. Kevin Le Gendre
Barnes/O’Higgins & The Sax SectionOh Gee!
The onrush of Barnes on record continues, as does the flow of releases on his Woodville label. Having heard this ensemble excel at last year’s Swanage festival, it’s easy to understand why he felt it should be recorded. The co-leaders are form players in any situation and each contributed charts to this five-sax group, reworking a mixture of classic pieces by Benny Carter, Edgar Battle, Tadd Dameron and Ellington et al, with just a single Barnes original among the 10 performances.
There’s spirit aplenty in the up-tempo opener, Carter’s ‘Doozy’, wherein the band replicates the composer’s original sax section writing and is notable here for King’s pulsing line and De Krom’s spring-heeled drumming. ‘The End of A Love Affair’ showcases the full section’s ease in tackling a complex arrangement, five breathing as one, AB’s alto the first to emerge, with Mayne, spikier, before Sharp bustles in on baritone. Mr and Mrs O’Higgins show up pretty well too as each plays chase with Barnes and Mayne. There’s a sense throughout of everyone up on their toes for this session, the section blend spot-on, as is their collective articulation, everyone soloing ably and at will, with this rhythm section daring them not to swing. A note too for Aspland, another player who knows how to rise to the occasion, always anxious to add value.
Just to hear this gang play their version of Dexter Gordon’s solo on ‘The Chase’, fast-moving and lapel-grabbing is a joy, as is their ‘reduction’ of Ellington’s celebrated ‘Ko-Ko’ chart, with Sharp echoing Carney’s time-honoured line and Barnes’ limpid clarinet snaking in and around the harmonies. Listen and expect to be bowled over. Peter Vacher
Jack DeJohnette/Ravi Coltrane/Matthew GarrisonIn Movement
Despite the size of Jack DeJohnette’s discography, it is probably fair to say the drummer’s best recordings under his own name are to be found on the ECM label. In Movement sees his return to the label with two younger musicians whom he has known since their childhood. The leading voice in the proceedings is saxophonist Ravi Coltrane, whose playing here must surely be his finest on record. In an album of free and structured improvisation and group interaction, he makes light of the creative burden this trio context demands.
‘Rashied’, with DeJohnette and Coltrane in duo, is an album highlight inspired by Rashied Ali’s duets on Interstellar Space with Ravi’s father John. It also provides a leitmotif for an album of fascinating musical movement where sounds and styles are freely mixed, developed and exchanged, abruptly morphing into new shapes and directions. Garrison excels on bass – in dialogue with the saxophone, in dialogue with the drums – and exploiting electronics to create sometimes trippy, sometimes colouristic episodes which add unexpected tonal contrasts within the trio format. Stuart Nicholson
Michael Wollny TrioKlangspuren
Wollny’s growth as an artist on record has been fascinating to follow and while not all his projects have yielded 50 carat gems it’s only in the doing that an artist discovers a little more of himself, including his or her strengths and weaknesses. It’s how an artist’s vision is shaped.
In Wollny’s case, aspects of his musical personality seem to be coalescing very quickly, and with it the realisation the piano trio is the best forum to focus his talent. At the end of October 2015 Wollny’s trio embarked on a Karsten Jahnke Jazz Nights tour of 14 German cities. It prompted the German broadsheet Süddeutche Zeitung to announce, “Wollny’s off on tour. Just get yourself there. Awesome!” More than 10,000 people took that advice, and the final night of that tour is captured on the CD of this CD/DVD release. Recorded on 13 November 2015, it shows how much has stayed the same in Wollny’s fast maturing approach and what is different.
The awe-inspiring head-banging performances that defined his group [em] are there to be drawn upon – and often are, to dramatic effect – but so too is a more carefully calibrated emotional range that values slow tempi, thoughtful, restrained moods and melodic development. He had to go out into the dark (Wunderkammer from 2009) to arrive at this point – but now there is an arc to his improvisations (and the presentation of this concert) that speak of continuing artistic growth – the development of the lyrical aspect of his musical personality and greater awareness of managing inside/outside, dissonance/consonance and polytonality and polyrhythmic playing to specific aesthetic effect that suggest he is well on his way to redefining the piano trio.
The concert draws most of its repertoire from Weltentraum (2014) and Nachtfahrten (2015), but the versions here have an ease of execution that define Wollny’s accomplishments in a trio context. New bassist Christian Weber (who made his first appearance on record with the trio on Nachtfahrten from August 2015) has integrated and assimilated himself into this group in a way that his American predecessor never quite achieved and deserves credit, together with the consistently excellent Eric Schaeffer, for their contributions to a quite exceptional album. The DVD comes from a performance at the Leverkusener Jazztage on 11 November 2014, and here Weber’s contribution can more accurately be measured by comparing his playing to that of Tim Lefebvre on bass on Weltrentraum Live – Philharmonie Berlin that calls on a very similar repertoire. It’s almost as if Weber’s meant to be in the band. Highlights here are ‘Phlegma Phighter’ (a Schaefer original that audiences love in its stirring complexity and impressive execution) and ‘Little Person’ that allows the Romanticist in Wollny to surface. Stuart Nicholson
Tomorrow is the question: These are the jazz starts you should look out for in 2017
If you’ve been lucky enough to spend the last 12 months stranded on a desert island, free from wall-to-wall news, social media and the world going to hell in a handcart, you may be shocked on your return to the mainland at how the tectonic plates of society have so dramatically shifted. Indeed, with our own island set to become increasingly isolated, it’s time to dig out your favourite desert island discs (and a bottle of your favourite brew) and look to music, and in particular jazz, as a beacon of passion and creativity away from the bickering and bigotry that is becoming the new normal. Below we have asked leading jazz writers, concert promoters, club owners and jazz panjandrums to contribute thoughts on who will inspire, illuminate and ignite the year ahead.
Kevin Le Gendre, Jazzwise, Echoes, BBC Radio 3 Jazz Line-Up Young Swedish guitarist Susanna Risberg was a highlight of this year’s Umea festival. A brilliantly expansive soloist with a rapier attack, the Berklee graduate could make a real impact if she translates her live shows into a coherent studio recording.
Richard Williams, Artistic Director of the Berlin Jazz Festival, thebluemoment.com Every time I hear Anna-Lena Schnabel (pictured above, left), a 27-year-old alto saxophonist and composer based in Hamburg, I’m astonished by the emotional impact of her playing. She’s an original.
Paul Pace, Ronnie Scott’s Club, Spice of Life Alto saxophonist Camilla George with her post-bop CGQ purveys a focused passion and charm, while recently evolved power quartet TriForce connect to a contemporary audience with their heady fusion of hip-hop, funk and spiritual jazz.
Eddie Myers, The Verdict Jazz Club, Brighton So many great artists played at New Generation Jazz this year that it’s hard to pick, but pianists Joe Armon Jones and Ashley Henry (pictured above, right) really shone . We’re excited to hear what Zeñel are going to do when they visit us in Brighton in 2017 – a hip, cooking, super-talented trio of players who aren’t even old enough to vote yet!
Mike Flynn, Jazzwise Young saxophonist Camilla George is not just a confident soloist but a gracious bandleader too, fronting her own quartet with cool authority. Also playing with great poise are her bandmates, with artful pianist Ashley Henry already causing a stir and Daniel Casimir’s wickedly stylish bass-playing is sure to make him one of the most in-demand low-enders around.
Jon Newey, Jazzwise Whether with Nerija, Gary Crosby’s Groundation or the Arun Ghosh band, guitarist Shirley Tetteh is fast developing a highly individual sound and approach, inspired as much by Robert Wyatt and Ambrose Akinmusire as well as the usual jazz and prog guitar suspects.
John Fordham, The Guardian The young Welsh double bassist and composer Huw V Williams’s debut album Hon (Chaos) was a very striking debut for him this year – a sophisticated but pungent merger of freebop, Laura Jurdlike lyricism, morphed Cuban grooves and a lot more. Young Manchester drummer-leader Johnny Hunter’s conjunction of 1960s hard bop, post-rock and middle eastern music on his While We Still Can (Efpi).
Spencer Grady, Jazzwise Fire, water and spirit. Biblical essentials to throw off the 2016 jip, the source material of US saxophonist Jeff Lederer who, with his Brooklyn Blowhards, aims a harpoon straight to the heart by joining the dots between Albert Ayler and Herman Melville.
Steve Rubie, 606 Club Guitarist Rob Luft has, in a very short time, established himself as a fluent and creative player with an impressive versatility. He has become a regular at the 606 with artists ranging from Gareth Lockrane and Byron Wallen to vocalist Luna Cohen. I see him as being a mainstay of the UK scene for many years to come.
Mike Hobart, Financial Times and Jazzwise Binker and Moses: Lean and articulate MOBO-winning sax and drum duo with clear aesthetic, they deserve all the praise. Also check Yusef Kamaal: drummer Yussef Dayes and keyboardist Kamaal Williams head-up a killer band that keeps jazz contemporary, funky and relevant.
Jez Nelson, Somethin’Else on Jazz FM Mansur Brown is a young South London guitarist and a member of ‘new fusioneers’ TriForce. He’s got chops to die for. Currently plays a few too many notes, but is going to be amazing!
Andy Robson, Jazzwise Sometimes you can big someone up too soon, but Rob Luft’s guitar is straining at the leash to get heard more widely, especially in the Big Bad Wolf band. From Björk to Derek Bailey, that’s gotta be good.
Peter Quinn,Jazzwise and The Arts Desk A previous winner of the Sarah Vaughan International Jazz Vocal Competition, Dallas-based Ashleigh Smith possesses a lustrous alto and a style that’s infused with R&B and funk. Her aptly-named 2016 debut, Sunkissed (Concord Records), also reveals a gifted songwriter.
Roy Carr, Jazzwise He may well have a number of albums to his name, but New York saxophonist Donny McCaslin’s involvement in the making of David Bowie’s Blackstar amounts to much more than an artistic (and commercial) achievement. Hopefully it will attract a much wider audience to the all-encompassing jazz community.
Steve Mead, Manchester Jazz Festival Keep an eye on Manchester saxophonist Kyran Matthews. He leads a local platform for airing new jazz compositions – The Manchester Jazz Collective – with his energetic playing, astonishingly mature writing and tireless organising.
Tony Hall, Jazzwise The UK’s Quentin Collins and Brandon Allen are a world-class frontline team, as are Steve Fishwick and Osian Roberts. In the US, watch out for pianist-composer Victor Gould and the remarkably talented Pedrito Martinez.
Rob Adams, Glasgow Herald, Jazzwise Glasgow-based pianist Fergus McCreadie has been on the radar since his mid-teens. Great ideas and the skill to bring them to fruition in any situation – solo, trio, big band – mark him out.
Jan Granlie, editor salt-peanuts.eu Look out for the Danish/Swedish/ Icelandic/Norwegian band, Horse Orchestra, based in Copenhagen and their second album, Four Letter Word. Here you get everything from Fletcher Henderson to Sun Ra and free jazz, played by seven young men with a lot of interesting ideas and lead by piano player Jeppe Zeeberg, one of the most talented, young Danish jazz musicians today. A marvellous band!
Peter Bacon, the jazzbreakfast. com, Jazzwise Birmingham Jazz Orchestra, formed by trumpeter Sean Gibbs to play bespoke material, comprises the richest cream of this city’s young musicians. Exemplary ambassadors for Birmingham and for jazz.
Robert Shore, Jazzwise Norwegian singer-songwriter Jenny Hval and her album with Trondheim Jazz Orchestra and Kim Myhr, In The End His Voice Will Be The Sound Of Paper, is maybe the first of her projects to have troubled Jazzwise’s reviews pages. It’s a great invitation to check out her back catalogue of experimental art-house folk-tronica.
Nick Hasted, Jazzwise, The Independent Moon Hooch: This Brooklyn trio’s self-described Cave music – you could also call it rave-jazz, or hammering, improv-heavy House – is following GoGo Penguin in further breaking down the barriers around jazz to a young public losing its wariness, by returning the music to the dancefloor.
Dan Spicer, Jazzwise, The Wire Mancunian guitarist Anton Hunter is a key figure in quintet Sloth Racket, and half of the duo Ripsaw Catfish. Now his own 11-piece ensemble Article XI demands to be heard.
Jane Cornwell, Evening Standard, Jazzwise Yussef Kamaal are longtime friends, drummer Yussef Dayes and multi instrumentalist Kamaal Williams (aka Henry Wu). They channel their raw energy into tracks influenced by Monk, Goldie, 1970s jazz-funk and the city of London itself.
Helen Mayhew, Jazz FM I really enjoy the playing and writing of young guitarist Tom Ollendorff, recent graduate from the Royal Welsh College of Music And Drama, and recipient of a 2016 Yamaha Jazz Scholarship, definitely one to watch and listen out for.
Alyn Shipton, Jazz Now, Jazzwise and The Times Guitarist Billy Marrows – winner of the 2016 John Dankworth Prize for Composition, and leader of an octet that is exploring ideas mingling Asian Gamelan music with what he describes as the “grooves, harmony and improvisation” of contemporary jazz.
Brian Glasser, Jazzwise Racking up acclaim over the past few years, Laura Jurd is boldly going where no woman has gone before – especially with her band Dinosaur, but with other diverse collaborations too.
Tony Dudley-Evans, Cheltenham Jazz Festival and Birmingham Jazzlines Elliott Sansom, a young pianist from the West Midlands and recent graduate from the jazz course at Birmingham Conservatoire. He was a finalist in the BBC Young Jazz Musician of the Year competition. Also check the Stoney Lane label, set up in Birmingham by Sam Slater to reflect the burgeoning local scene.
Meeting Georgie Fame: a rare and exclusive interview
Writer Mark Youll caught up with legendary singer and pianist Georgie Fame for a rare and exclusive interview
It's crazy to think that it's now been 57 years since Ronnie Scott's first opened its doors in the busy, effervescent heart of Soho. First, from a basement bar in Gerrard Street for six years, before switching sites to nearby Frith Street in the summer of 1965, where it still stands proudly today as the greatest jazz venue in London, if not the world.
In celebrating the big birthday of this grand establishment, four concerts from one of the club's resident fixtures over the years, Georgie Fame, were announced for late October. The shows sold out instantly and the 73-year-old Fame came and blew the roof off the place. Engaging and energetic, his distinct jazzy vocal soared across a packed room night after night, while his warm signature B3 Hammond whistled and purred around the brassy blare of Guy Barker's wonderful orchestra. The music selected for these special shows was naturally arranged for big band and drawn from Fame's five decades in the business. It also served as a reminder of just how much Fame - like Ronnie's - has always been open to musical change and the rich mix of blues, jazz, gospel, calypso, R&B, bop, bossa and bluebeat resonating from the stage luminously verified this.
Should you have missed out on the shows or are maybe new to Fame's work, a stunning new box set, Survival, is released later this month. A weighty set spread across six discs, it features a selection of nuggets from 1963-2015, beginning with some the first material he recorded as a leader following his formative years as a backing musician to such quiff-rockers as Tony Sheridan, Gene Vincent and Eddie Cochran. Back then he was still a naive, 15 year-old Clive Powell, a passionate pianist having just escaped the likely prospect of labouring in a cotton mill in his native Lancashire by winning a singing contest at a Butlins talent show in Wales. His big win that day earned him a regular gig for a year playing with Rory Blackwell's Blackjacks, before he found himself in London, on the books of pop manager and impresario Larry Parnes and receiving some serious schooling, touring with all the aforementioned quiffs.
Powell's vibrant piano style flourished on the road and by 1959 Parnes had rechristened him Fame after hearing the boy could sing. It was also in that same year that he was introduced to the music of Ray Charles, a game-changing moment that would direct Fame down a new musical path, towards the blues and the music of the church, the combination of which would exemplify much of his work in the years thereafter. In the winter of 1961 another significant shift in Fame's career followed an incident in Paris while touring with Billy Fury and the Blue Flames. Friction had flared during a sound-check and Fame finished up as the band's new front man. It was a position he would hold and find great success with over the next three years, sweating his way through late night sets with the Flames, now the new resident band at the infamous Flamingo Club on London's Wardour Street.
It was at the Flamingo, discovering more Blue Note and bluebeat, and tearing through tunes by James Brown, Mose Allison, Booker T and Tamla Motown, that Fame would start to make his name, fusing together a sound from a myriad of influences and relighting his Flames as an all-out R&B outfit. The band was also by now represented by the club's promoter Rik Gunnell, who kept them busy touting their sound around the country, as well other popular London hangouts like Klooks Kleek and The Roaring Twenties. To top all the excitement of the band's live show, in which sludgy Hammond had replaced tinkling piano, Fame and his Flames found fame in the pop charts with a tune called 'Yeh Yeh' in early 1965. The song was a huge hit, eventually furnishing the 22-year old Fame with his first number one and dropping the group into a kind of screamy pop hysteria fleetingly, thanks to appearances on TV shows such as Ready Steady Go and The Scene.
But a change was gonna come, and a year later, despite more chart success with tracks 'In the Meantime', 'Getaway' and 'Sitting in the Park', Fame would be pushed by Gunnell to disband the band that helped make him a household name. He was signed to CBS and was, for the first time, now recording and touring as a solo artist. For a while the hits kept coming too, thanks to the seductive 'Sunny' and the banjo-twanging 'Ballad of Bonnie & Clyde', but they were to be his last major sellers. The seventies were around the corner and it become all too clear that the sixties dream was over and his days in the mainstream were numbered.
Not that this stopped Georgie from generating more great music. In fact, many still believed in his star quality. Notably Island records boss Chris Blackwell, and also jazz pianist Ben Sidran, who in the late '80s helped revive Fame's status by plonking him in the studio with some top New York sessioners (Steve Gadd, Will Lee, Robben Ford and Richard Tee) to record the groovy Cool Cat Blues album for his Go Jazz imprint. Fame even toured and recorded with Van Morrison for ten years around this time, a back-breaking schedule he somehow managed to squeeze into his own active solo pursuits into the noughties, writing more great music, establishing his own record label, forming a successful trio with his two sons and collaborating with Bill Wyman, Eric Clapton, Muddy Waters and countless other great artists and musicians around the world.
Speaking exclusively to Mark Youll for Jazzwise the usually interview-shy Georgie Fame agreed to discuss his long, diverse career so far. The highs, the lows, the Ronnie's shows and where his motivation for the music lies now.
I'd like to begin by asking you about the birthday shows you did at Ronnie's. How did those go and how did you decide on material for these gigs?
The shows were a lot of fun. I called up some arrangements from my personal big band library that I did with the Harry South big band in 1965. I also included a lot of later stuff. One tune that I composed in honour of Mose Allison ('Go Down Moses') was arranged by Guy Barker and performed for the first time at these shows.
Do you remember anything about the first time you played the club, and could you tell about your relationship with the venue over the years?
I first played at Ronnie's in the late seventies I think, when I had a new version of my (Blue Flames) band. I'd done a recording for Pye records and we did a few nights there. When I moved further into the world of jazz and I'd recorded an album in England with Annie Ross of Hoagy Carmichael tunes (In Hoagland, 1981) I was then playing a lot in Europe with jazz combos. I remember I went back to the club around 1988 when I did an album associated with the songs of Chet Baker, this was with Peter King on alto and I think Ron Mathewson on bass.
Then I returned to the club later with a larger band with King, Alan Skidmore on tenor and Guy Barker. I think that was the first time I worked with Guy. It was basically the be-bop singing bit and some Chet Baker trumpet solos which me and a friend added lyrics to. The original idea was to do an album with Chet and I spoke to him about it, but unfortunately he fell out of a window, or was pushed, and we'll never know the truth. Anyway, I went ahead and did that album (A Portrait of Chet, 1989) with some fine musicians in Holland and this led me to working at Ronnie's every year after that.
Your music has taken many shifts stylistically, what do you enjoy about working in a big band situation?
Well, playing with a jazz orchestra like Guy's is a luxury. I financed the first big band album I did in England with Harry South's band (1965's Sound Venture) and that band contained some of the greatest musicians of the time – Tubby Hayes, Ronnie Scott, Stan Tracey, Phil Seaman. I was a kid but I wanted to try and sing with a big band, so Harry and I put that thing together. I remember my manager at the time (Rik Gunnell) was all against it, he thought big bands were dead, and that it would be a waste of money. It was like my parents saying "what do you want to go gallivanting down to London for?", like I should stay in Lancashire working in a cotton mill factory.
Music has always been at the centre of things for you. What was the first music you remember hearing?
The first music I heard was every Sunday in the chapel, singing hymns. We also had a piano in the front room and my dad played a little bit. We would have regular social evenings. Things happened in the church hall and then there was Sunday School where there was a stage and a band in which my dad played accordion. It was in the church that I also learned the popular songs of the day.
Would you say music was imposed on you at a young age or did you naturally gravitate towards it?
Music was part of our lives. In the days when I was growing up, in Lancashire after the war, there was no television, and every house, no matter how poor you were, had a bloody piano in the front room.
During your shows you always make an effort to explain the history of the material you perform. Why is this?
I think it's very important to educate the audience. A lot of people don't know where the music came from. A lot of people in their innocence think that 'Yeh Yeh' began with Matt Bianco in 1986. That was a very fine record and people think it started with me and it didn't, so it's important that I inform the audience. Especially nowadays, with the way the media is, and life being so fast and flippant, people don't have any depth to their knowledge. I think it's important that people know where I got my inspiration from.
Where did you get your inspiration from?
I was inspired by Jerry Lee Lewis and Fats Domino, and by the age of sixteen I was touring with Eddie Cochran and Gene Vincent and I've never stopped learning. Colin Green, my first musical mentor and first guitarist in the Blue Flames, turned up at Ronnie's the other day, we worked together for donkey's years and we're both into our seventies now but still I'm learning. Ever since I left Lancashire I've been learning. So it was Jerry and Fats until I came to Soho and I started hanging out with other musicians, and then I heard Ray Charles and the sky opened.
Tell me about that time – how would you describe the impact Charles' music had on you?
We were called to a rehearsal in Gerrard Street, Soho by Gene Vincent and Eddie Cochran, and it was there, along with a pool of musicians that Larry Parnes employed and Marty Wilde's band the Wildcats, that we found out who was gonna play with who. Eddie was sat on a stool with a Grestch guitar and asked if anyone had heard of Ray Charles and nobody put their hand up. So he started to play the intro to 'What'd I say' on his guitar and we all flipped. As it happened, the Wildcats were chosen to play with Eddie and we were selected to back Gene Vincent, but that was not how it worked out. You can ask any of the Beatles that are still alive, or Tom Jones who remembers me playing 'What'd I Say' with Eddie Cochran in Cardiff in 1960. Eddie Cochran was responsible for introducing the music of Ray Charles to the masses of this country. The Beatles were in the audience when we played at the Liverpool Empire and within three months of that tour every guitar player in Britain was trying to play 'What'd I say', most of them were playing it wrong too! Eddie played it perfectly.
When we first heard that recording by Ray Charles we didn't know what the instrument that opened the tune was. We'd heard of a Wurlitzer piano, but we thought it was some strange guitar sound. Ray Charles was so deeply rooted in gospel and jazz and it was the kind of music I wanted to play from day one. We all know that rock and roll, as white people call it, came from black rhythm and blues, but you couldn't mention that fifty bloody years ago, people just didn't want to know. When my band had its first hit with 'Yeh Yeh' we couldn't get booked in America because I had two black guys in the band. They had integrated bands in America in the early sixties but with the British invasion they just wanted the guitar bands. They didn't know how to place me. I had an African conga player and a Jamaican trumpet player and they couldn't be bothered to find us a place to play.
Let's not forget Ray Charles commercialised the gospel. He mixed the gospel and the blues together. In America the blues was known as the devil's music and so Ray Charles made a fundamental shift in that he combined the devil's music with the gospel, the Lord's music. When you look back on it it's one of the most radical things you can do.
How would you say working as a backing pianist for the likes of Gene Vincent, Tony Sheridan and Billy Fury helped you later as a leader?
Well you have to wear a different hat. There is an old legend, that's partly a joke, that the band leader is the worst musician in the band, mainly because leaders need to concentrate on other things like logistics and who's going to be in the band. It's important that members of an orchestra or band get on with each other. To start with, we formed the band because we were all friends together. When egos are flying around left right and centre it can turn unpleasant and I don't want that, which is why in the last 25 years or so I've only worked with friends.
What happened exactly in Paris with Billy Fury that resulted in you leading the Blue Flames?
As I remember it, we were doing a sound-check and the Olympia theatre was empty. Chubby Checker was top of the bill and the Shadows played without Cliff Richard. Colin Green had persuaded us to learn a song by the Percy Faith orchestra called 'Summer Place'. Because Billy wasn't at the sound-check there was no need to play any Fury numbers and so Colin was cheering us on to try other things. So we were playing that tune and the road manager came rushing down to the front of the stage yelling "It's not rocking, it's not rocking!" We told him to get stuffed and that was it, we got fired. Billy Fury didn't fire us, the road manager did.
The journey from Butlins to the big time was a short one. How quickly were things happening in the early sixties and how comfortable were you with your new role as ambassador of R&B in the UK?
That was a journalistic thing, I never called myself that. We were out of work after we got sacked from Fury's band. I stayed in a friend's apartment for two months with no work. Somebody came round and paid for me to have a haircut one day, I was looking a bit of a mess I suppose. But this friend took me round to the Flamingo club and introduced me to Rik Gunnell who was running the all-night sessions there. We stood in for the resident band and ended up staying for three years. That's where it became Georgie Fame and the Blue Flames. Before that it was Billy Fury and the Blue Flames. We were all in this together and we played with lots of musicians down there. We were all living and learning at the same time. Once we were in the Flamingo we were working regularly. Then the club scene started in London and later places like Manchester and Sheffield opened up and we were playing up and down the country.
So 'Yeh Yeh' took you into the charts and to Number One, did you enjoy your time in the pop limelight?
I enjoyed some of it. 'Yeh Yeh' is still a strong song and I opened my gigs at Ronnie Scott's with a wonderful big band arrangement of it that Tubby Hayes did for me in 1967 for my first tour with Count Basie. That song opened a lot of doors for me, as Ray Charles did. It gave me the opportunity to play outside the country and to witness other cultures and languages, forming relationships through the music. In music there's no language barrier. And that's what I've done over the years. I've made a lot a friends all over the world, Japan, New Zealand, Australia, America, South Africa, Europe and that's the kind of places I work and those are the people I play with.
Were chart placements important to you at that time?
I think they were important to my manager and the business. I got a brand new Jaguar S Type for my birthday in 1965, it was a gift from my manager, but of course he used my money to pay for the bloody thing. So I financed a lot of people's livelihoods and with building up a business chart placements were fairly important. Even John Mayall, who worked out of the same office as us, was convinced to get in on the commercial end of it all and composed what would be for him a commercial song called 'Something'.
How busy did that period get for you?
We used to rehearse once a week and put new tunes in the programme. We could play four one hour sets without repeating ourselves. I wasn't composing much at the time. I didn't really start writing until I started to make records and my first attempts weren't very good. One of my compositions, about leaving the Flamingo and six o'clock in the morning, was 'Dawn Yawn' which I sang at Ronnie's last weekend too and it sounded ok.
I read that Prince Buster would often be escorted from town to town by mod fans on scooters whenever he toured in the UK. Did you ever get preferential similar treatment from the modernist fraternity?
In Tokyo and Northern Spain there are still large mod movements these days and I get fated every time I visit. In the old days, the Flamingo at first wasn't a mod joint; it was full of black American GIs that were stationed in the US air force. There were also a lot of West Indians, Africans, even gangsters. The week after the US air force authorities put the Flamingo off limits to the GIs it was suddenly taken over by the mods, once it was safe to go in there.
How did the Blue-Beat influence come about with tracks like 'Madness' and 'Tom Hark'?
It was the Jamaican friends we had at the Flamingo. There was also a great West Indian disc jockey called Count Suckle (one of the originators of Jamaican music in Britain) who had the best record collection of anybody I've ever met. We used to do blues dances down at a club in Ladbroke Grove and Suckle would have his sound-system and the Blues Flames would play with hardly any PA system. We'd play at the Porchester Hall and places like that, it would be full of West Indians and a few Africans. Suckle found a place to play in the basement of a place on Carnaby Street called the Roaring Twenties. This was, I think, 1962 before it was a big fashion street. We opened it with him on a Sunday from Midnight to 6am. That's where I met Prince Buster, Rico Rodriguez and all those guys. My first recordings on Hammond organ were with Prince Buster.
How much of an effect did the breakup of the Flames have on your career?
Personally it had a very detrimental effect on my state of mind, mainly because it was the band that had led the way. It was the reason we all did it in the first place. My manager had different ideas from a commercial point of view and I was very upset with that and spent quite a while in the wilderness trying to resolve all that. My manager had other plans for what my image should be. He thought the R&B and club scene was dead. People like John Mayall had moved to America and onto greater success and he thought I should become a solo artist. He also wouldn't have had the over-heads of having to worry about a band (laughs).
The new box-set features, for the first time, a steaming set from the Lyceum from 1974. What was the hold up on the release of this recording?
The recording quality was a disaster. I can't remember who the engineer was but it was a pretty hairy band, a bigger Blue Flames. I put it all together for (Island Records boss) Chris Blackwell. Other musicians heard about it and I had people like (saxophonist) Elton Dean asking if they could be in the band. It got too big and the recording of the gig at the Lyceum was so bad that nothing was usable. My son Tristan is a fully-qualified engineer and so Universal passed the original tapes to him and he worked and worked to make them sound acceptable. The original set lasted about an hour and a half but what's on the box set is all that was salvageable. Most of it was unlistenable and unplayable.
How would you describe the 1970s compared to the huge success you had in the 60s? Was it a challenging time for you musically?
Not a challenging time musically, it was a challenging time commercially, just trying to survive. My friend in America (musician) Ben Sidran and I sometimes talk about how the seventies were a dead decade for us. The suits had moved into the business and certainly the recording industry. This changed the whole procedure. But I kept on going and was lucky to get some work in TV commercials which helped to pay the mortgage, and I wrote some music for a couple of films.
But it was decided by the powers that be that it was the end of that whole sixties era. Bands like Led Zeppelin came in and cleaned up, made loads of money, and good luck to them. Our managers were telling us what to do, but if you look back at it all historically our managers didn't know what they were fucking talking about. Simply because they were still learning to be managers at the same time we were learning to play. And that unfortunately is the hard truth of why John Lennon and Paul McCartney do not own the copyright to the great early Beatle compositions. Their manager wasn't advised properly. I remember we were all told to go to a publisher and get our songs published. The publisher would agree on a 50/50 deal and they would have the copyright. We didn't know about the business side of it and our managers certainly didn't. We didn't care; we were just interested in the music.
After the seventies my manager moved to America and I decided I didn't need a manager, I knew what I wanted to do and I've pursued that ever since. I've obviously done something right because I'm one of the few people that play for a week at Ronnie Scott's and it's sold out before I have time to think about it.
As well as Alan Price, another major figure you ended up working with was Van Morrison. What kept you in his band for what was nearly a decade?
I liked it and he liked it. He came to see the show on Saturday and said it was the best fucking band he'd ever heard. We have a great relationship and it was only due to other commitments that I had to quit his band. It just so happened that after I left the band Bill Wyman called and asked me to join his Rhythm Kings group. These people are all friends and working with them doesn't stop me doing what I want to do. There's something in the pipeline possibly with Van next year and I'd be happy to do it because he's a fantastic performer and also a wonderful poet, like Bob Dylan. He bares his soul on stage. He bares his soul through his songs and his poetry, and he's always been an inspiration. He's also one musician that's made me cry on stage from pure emotion.
The music you made with Richard Tee, Steve Gadd and Will Lee in the early 1990s was quite special, how did those sessions come about?
It was around 1989 and I was in Australia working with an Australian band. I met up with Ben Sidran who told me about his plans for the Go Jazz label and asked if I would like to do an album. We agreed, started sending each other material and I went to New York I we did it. The first (Cool Cat Blues) album with those guys didn't take long to make because they are serious players, they don't take prisoners. It was a wonderful experience and I ended up doing three albums with Ben in New York. I think they are included in some of the best albums I've ever done. I did 'Rocking Chair' on Cool Cat Blues and sang in the piano room next to Richard Tee and he was a fantastic musician, a really warm guy as well.
Is there a particular style or setting you prefer working in these days?
Not at all. At the moment I work with a fantastic jazz quartet in Sweden featuring a wonderful female soprano sax player that plays bebop. I've done Guy Barker's big band at Ronnie's because it's what was needed and I've worked with Guy for over thirty years now. Soon I'm going to Hong Kong with Guy and a Chinese guitar player who we met through our frequent trips out there. I've got four concerts coming up in Holland with one of the great European jazz orchestras on a par with Guy's big band. I also like to play on my own at the piano sometimes. I'm actually looking for a quiet little place somewhere that I can just play on my own without any publicity, just word of mouth kind of thing. Because that's how it was in the beginning. No distractions, you know?
How do you think you managed to encapsulate so many genres into your work?
Well it's all part of the same tree. Its different branches coming from the same root and they all belong together.
Looking at all the material amassed on this amazing new box set, is there a particular era and recording you feel most proud of or that best represents you as an artist?
I would probably say some of the best things I've done in my career would be on my own Three Line Whip label, tracks with the latest and last edition of the Blue Flames with Alan Skidmore and Guy Barker. Those recordings are at the back end of the box set I think. I wanted control over it all and when I had new songs I wanted to just record them and having now owned a label I could because I was my own boss. I think that material is more representative of where I'm at, and they do encapsulate everything that I've been involved in from day one.
Finally, after five long decades what motivates you to keep going musically?
The emotion of actually performing. I don't play anything or sing anything I'm not happy with and it's a wonderful experience to have that adrenalin running through your system. It's an emotional thing and when I'm working with my two sons there's an added dimension to that emotion. Playing with your own flesh and blood adds another dimension. As long as I have my health, my enthusiasm for the music and I can still remember the words to the fucking songs then there's no reason to quit. I'll just keep doing what I do and keep my head down. Like Van Morrison, I bare my soul on stage.
Survival - A Career Anthology 1963-2015 is released on November 25th through Universal.
Precociously talented vocalist, pianist and songwriter Kandace Springs found her jazz feet and a ready audience with the release of Soul Eyes on Blue Note earlier this year. She spoke to Peter Quinn about acquiring her first instrument and the tutelage of heavyweights such as Prince, Don Was and Gregory Porter
Mentored by Prince, who was so taken by her cover of Sam Smith’s ‘Stay With Me’ that he flew her to Minneapolis to perform with him at the 30th anniversary celebration of Purple Rain. Offered a record deal by Blue Note’s President Don Was after hearing her perform just one song – an arrangement of Bonnie Raitt’s ‘I Can’t Make You Love Me’ (from Raitt’s 1991 album Luck of the Draw, which Was co-produced). Vocalist, pianist and songwriter Kandace Springs seems to be the very epitome of overnight success. And yet, as is so often the case, the reality is rather more complex.
Born in Nashville, Tennessee, her father, Scat Springs, is a session singer who still holds a residency downtown. Springs vividly recalls the day that a piano suddenly appeared in the family home, an event which was to profoundly shape the course of her life.
“We had a friend who was being evicted from her apartment,” she tells me on the phone from the US, “and she had this old, old upright piano, like an heirloom. They were going to throw it out in the street, so she called my dad and said please, please can you keep this. He didn’t want to take it because it was so big, but a few days later I saw the piano in the house. I remember trying to play ‘Moonlight Sonata’ and my dad comes down and plays a ghetto version and I played it back real quick and he was like, ‘that ain’t normal!’”
As her father was close friends of the Nashville-based Wooten brothers, lessons with Regi Wooten soon followed. Then, at the age of 13, her musical path was sealed when a song from Norah Jones’s debut album Come Away With Me came on the radio.
“The last song on that record came on, the great jazz standard ‘The Nearness of You’. I was like, oh my gosh. I stopped everything and said I’ve got to learn this song.” Springs bought the sheet music and ended up performing the song at a music camp in Nashville. “That was my debut – I was hooked after that. I thought, I want to make a living doing this.” After that, her father gave her more albums to check out: Diana Krall, Duke Ellington, and Ella Fitzgerald, who she cites as being one of her biggest influences.
An early demo caught the ears of Rogers and Sturken, writers for Shakira, Christina Aguilera, Kelly Clarkson and others, best known for discovering and signing Rihanna. Aged just 17, Springs had the opportunity to ink a deal with their production company, SRP, but felt that she couldn’t commit at that point. Instead, she threw herself into work at a downtown Nashville hotel, valet-parking cars by day and playing piano in the lounge at night (Springs is a self-confessed gearhead).
Ripple dissolve to a few years later. Springs now found herself in New York, focusing once more on songwriting and demo recordings. Hooking up with Rogers and Sturken, a self-titled debut EP garnered critical acclaim and appearances on Jimmy Kimmel and Letterman shows, but the R&B/hip hop direction her music had taken wasn’t sitting quite right with Springs. Following some soul searching, plus some invaluable advice from Prince to follow her own muse, she finally returned to the soul, jazz, pop sweet spot that had so captivated her on Come Away With Me.
That all-important audition with Mr Was then followed, and Springs became a Blue Note artist. But it’s been a long musical journey.
In addition to her smoky vocals and engaging piano playing, expressed almost as one musical thought with what album producer Larry Klein refers to as, “a sense of phrasing way beyond her years”, her distinguished debut album Soul Eyes is marked by her own distinctive compositional voice. Featuring the most beautiful trumpet solo by Terence Blanchard, Springs co-wrote the slow-burner ‘Too Good To Last’ with songwriters Greg Wells and Lindy Robbins, plus a brace of songs (‘Fall Guy’ and ‘Novocaine Heart’) with Rogers and Sturken. But it’s the entirely self-penned album closer, the almost conversational ‘Rain Falling’, which really captures your attention.
“I was 16 years old when I wrote that song. I just like that more poetic writing where it’s not just verse, chorus, back to the verse and into the bridge. I really like the song to tell a story,” she says. The imagery of water seems to thread its way through the album like a subliminal idťe fixe. Is this something she particularly responds to? “Actually, I do. No-one’s ever brought it up with me like that before, but I’m obsessed with water.” And will there be more of her own material, is there a back catalogue? “You better believe it,” she laughs.
Brad Mehldau and Joshua Redman – Just the Two of Us
The dynamic top-tier pairing of Brad Mehldau and Joshua Redman are seeking to elevate the status of the piano and sax formation with their new album on Nonesuch, Nearness. Ahead of their headline appearance at this year’s EFG London Jazz festival on November 12, Selwyn Harris spoke to them about their profitable partnerships and the relative paucity of high-profile precursors to their own designs on the duet
For whatever reasons, the piano-sax duo is one of the more unusual of what could be considered conventional jazz line-ups. It’s a setting that hasn’t had the same watershed moments or been talked about with anything like the same gravitas as the solo, trio, quartet, quintet format and so on. Of more recent contemporary recordings though, Marc Copland-Greg Osby, Lee Konitz-Dan Tepfer and Vijay Iyer-Rudresh Mahanthappa are notable pairings that have revealed the format’s potential for a freewheeling, intimate, one-on-one dialogue cut through with an intensity that can more than match any of the other more ‘classic’ settings. Add the new Brad Mehldau-Joshua Redman recording to that list. Their outstanding new release Nearness on Nonesuch is their first recording as a duo and captures the very essence of these values.
“My observation would be that there aren’t as many duos as there are trios, quartets, etc in any instrumentation,” says Mehldau. “I’m not sure why that is. Duo implies the opportunity for a direct confrontation with the other player, but there are also ways to make it more conventional of course, as with any instrumentation. Perhaps that directness is a put off for musicians. For me it’s what’s so fun and exciting. I’m not saying I’m a master at it at all; on the contrary, playing duo with an inspiring musician like Josh makes me feel less self-assured in the best sense of the word. I really value those musical situations where I am challenged, and this is one of them.”
Mehldau’s other musical half Joshua Redman, also considers the lack of role models in the duo setting. “It’s an interesting question and one that I’ve never thought of before,” says the tenor-soprano saxophonist on the line from LA, as inquisitive in conversation as he is improvising. “I’ve heard Herbie and Wayne play duo together and they sound amazing, Steve Lacy and Mal Waldron, but I would say not so much in the sense that there are so many touchstones as for a quartet or quintet, groups historically that have had huge influence and impact. With the duo it’s more just that the models are the great jazz improvisers that we’ve listened to. And it sounds a little strange but I think our duo thing was already established. All the pieces were already there from the lifetime of music making we’d had that preceded that together. In a way we were doing what we’ve always done, but maybe just without bass and drums. It felt very familiar and very natural from the first gig. That surprised me a little bit. Oh yeah, I’m playing with Brad and we’re doing what we do, but this time it’s just the two of us.”
The musical bromance between Redman and Mehldau has passed every endurance test since their first meeting in the early 1990s. That was when Mehldau got his first big break in Redman’s quartet touring and recording on the sax man’s 1994 Warner Bros album MoodSwing. The saxophonist, who’s the son of Dewey Redman – a former protagonist of a more avant-garde strain of jazz tenor – was one of the highly-gifted young generation of jazz musicians at the time riding the wave of a mainstream jazz renaissance. By his early twenties he’d already been nominated for a Grammy, won the prestigious Thelonious Monk Competition and copped a record deal with Warner Bros.
“It was by far the best gig I had ever had up until that point in my lifetime,” says Mehldau. “I had been gigging around New York and had some other road gigs since I was 18, and I think I started playing with Josh when I was 24. It was, needless to say, very exciting for me. I felt like I had won a lottery, getting that gig! It was a real happy moment in my life. Josh called me to play two nights at the Village Vanguard – he had a week there – to see how it would go. That in itself was daunting, to be playing in that room. I passed the test and he asked me to be a part of the band. Big event for me, for sure.”
“I first met Brad and played with him shortly after I had moved to New York and he was God to me,” says Redman. “He was light years ahead of everyone else. He already had his own sound and identity. He was already clearly one of a kind, a one in a generation musician. He was in my band for a short period of time, but a very formative period. Then he started to do his own thing and we reconnected on another record I did called Timeless Tales in 1997 or so for a period of time.”
With new family commitments, managing their separate high-flying careers as well as living on different coasts, playing together became less of a regular occurrence. Even so they were still bumping into each other on the road and at the odd jam session. The tables had meanwhile turned. Mehldau’s star was the one in the ascendant; to many minds he’d become the most important new jazz pianist on the planet.
“For one thing, I would go to hear him play whenever,” says Redman. “At that time I had moved to New York and was living there up until 2002. So whenever he was in town, like playing with his trio at the Vanguard, I would always go down, often multiple nights because I’m one of the biggest Brad Mehldau fans and we’d always run into each other on tour. We did some double bills together too, his trio and my quartet. We were always in touch musically and I was always aware of what he was doing and listening to his latest records, so even though we’ve gone long periods of not playing together I’ve always felt in a very good way, very familiar with him musically.”
Their next notable musical exchange occurred in 2008 when they performed as a duo for the first time. Redman’s key appearance on Mehldau’s Highway Rider (2010) and Mehldau’s on Redman’s sax-and-strings Walking Shadows (2013) gave them the opportunity to cross musical paths again. But both longed for the kind of profoundly intimate experience they’d discovered as a duo. “Josh and I made a few duo performances together first, without much thought of where it would go, just to explore,” says Mehldau. “We had a really nice one as a part of a residency I did at the wonderful Wigmore Hall in London. We both felt strongly about that gig immediately; it felt like there was potential to grow. So we looked for more gigs. Indeed, what was appealing about the duo setting was how unhinged it felt in comparison to the two recording projects you mention, which were, relatively speaking, planned out affairs.”
“I didn’t know if I was ready to play duo with Brad Mehldau,” says Redman, with genuine modesty. “My question was about whether he even needed me. He’s one of the greatest solo pianists playing today, arguably of all time, so what am I going to add to the conversation? But, in a way, what I discovered was what I already knew, that exactly what I did add was myself to the conversation and that is one of the things that makes Brad such a great musician. I think one thing we share in common is this embrace of a real communicative conversational ethic. We’ve always had this even when we were playing together in larger configurations. That’s something we both love and it’s a source of our connection and I think it makes the duo situation feel so unique and special, at least for me. I think the challenge for me is to not let that love of interplay and conversation take over the music. We still have to be conscious of the song and trying to tell the story of the song, whatever that is. And to be conscious of architecture and form and organisation of the music so there is structure, there is a sense of purpose and directionality, there is a sense that there’s a larger narrative going on. That’s also something I think we both share, we’re aware that improvisation takes place in a larger context and you can be completely free and in the moment and interactive and conversational, and still be aware of the larger structure and architecture and hopefully serve it. You can have your cake and eat it too.”
In the making of Nearness, Mehldau approached Redman just over a year ago about them listening through some live concert tapes of them in duo. Redman compiled the recording, going through about 20 gigs and finding “special or unique versions of our repertoire”, a mix of bebop, standards and pop-rock tunes. They boiled it down to seven tracks, all of which come from a European tour in November 2011. Mehldau remembers it as “a fruitful series of gigs; we were really in the zone.” It’s highlighted by their elegantly scintillating versions of the bebop standards Charlie Parker/Benny Harris’ ‘Ornithology’ and Thelonious Monk’s ‘In Walked Bud’.
“When I first heard Brad I remember being struck by how much Wynton Kelly he had in his playing and I loved Wynton Kelly,” says Redman. “People don’t hear that now because there are so many layers. His thinking obviously wasn’t as fully developed as it became five years later. But we both loved bebop and we came up at a time when bebop was super important to what young cats were checking out. That music is a shared love for us for sure. So it was natural for us to play bebop tunes on the tour.”
Aside from the standard title theme, all are originals, one of them being Redman’s punning ‘Mehlsancholy’. Says Redman, “It’s a Brad-like tune in the feeling of the harmonic motion and has that beautiful tinge of melancholy which is something that’s at the core of his aesthetic. It reminded me of him and was influenced by him in a way. We’ve always shared musical values, whether in terms of our approach to improvisation or some of the same influences, and the importance of swing, blues and love of interesting popular music of our generation. All those things have been there from the beginning. Even though we grow and mature and change with our different projects, I feel, maybe because I’ve always listened to his music, that we’re changing together and growing together. There’s never been a point when I didn’t feel 100 per cent comfortable playing with Brad. This doesn’t take anything away from other musical relationships, but often when I go a long time without playing with a musician there’ll be an adjustment period. With him it’s never felt like that. It feels like we’re picking up where we left off, but with the added benefit of how many years and notes of making more music and being that more mature and hopefully wiser. At the same time, I’m always on the edge of my toes and it never feels too comfortable. It never feels like we’re just dialling it in, or just coasting. It’s not easy trying to keep up with Brad! But yeah, we both have a very playful spirit and not coming to the bandstand with any agenda. We both really embrace the moment.”
“Josh and I both value listening closely to the other player,” says Mehldau. “It definitely plays into this duo format. Having said that, there is always a counterintuitive possibility: sometimes there are exciting moments of rupture here when one of us just charges forward brazenly, independent of what the other guy is doing. This is interesting to me, this notion of respecting and trusting the other player enough to play something that is, on the face of it, disrespectful. All of these variables on the bandstand are applicable to friendships. Jazz is nothing if not a social music, a music of social interaction.”