ARTICLES & FEATURES
DAVID BOWIE'S LIFE IN JAZZ
Article by Chris Baber
Six years after Bowie’s death, there will be much ink still to be spilled on his legacy and contribution to music. I wasn’t sure how much of this would focus on the interest that he had in the variety of genres outside the music that he made his own. His final album, ‘Black Star’ (2016) saw him working with Donny McCaslin, Mark Guiliana, Jason Lindner, Tim Lefebvre, and was heralded by some reviewers as Bowie’s ‘jazz’ album. But, even here, jazz was less a musical style than an attitude to making music. By which I mean that the structure of the tunes and the tempo in which they were played, rarely feel like ‘jazz’ and maintain the 4-square beat of Bowie’s back catalogue (with many clear references to songs from his career). This is not to say that Bowie’s work with McCaslin et al. negated their jazz credentials – anymore than Bowie’s work with Eno or Fripp negated their ambient or experimental credentials. But it does raise the question of what ‘jazz’ meant to Bowie and his music. Last year, the album ‘David Bowie in Jazz: a jazz tribute to David Bowie’ (Wagram Music) produced a set of jazz stylings of his tunes. So, one way to look for Bowie in jazz is to have a translation that shifts the tempo, structure and production values of his music to jazz. Another way is to look at his recordings and ask how he took his own stylings from jazz... continue reading
Article by Chris Baber
Six years after Bowie’s death, there will be much ink still to be spilled on his legacy and contribution to music. I wasn’t sure how much of this would focus on the interest that he had in the variety of genres outside the music that he made his own. His final album, ‘Black Star’ (2016) saw him working with Donny McCaslin, Mark Guiliana, Jason Lindner, Tim Lefebvre, and was heralded by some reviewers as Bowie’s ‘jazz’ album. But, even here, jazz was less a musical style than an attitude to making music. By which I mean that the structure of the tunes and the tempo in which they were played, rarely feel like ‘jazz’ and maintain the 4-square beat of Bowie’s back catalogue (with many clear references to songs from his career). This is not to say that Bowie’s work with McCaslin et al. negated their jazz credentials – anymore than Bowie’s work with Eno or Fripp negated their ambient or experimental credentials. But it does raise the question of what ‘jazz’ meant to Bowie and his music. Last year, the album ‘David Bowie in Jazz: a jazz tribute to David Bowie’ (Wagram Music) produced a set of jazz stylings of his tunes. So, one way to look for Bowie in jazz is to have a translation that shifts the tempo, structure and production values of his music to jazz. Another way is to look at his recordings and ask how he took his own stylings from jazz... continue reading
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ALBUMS OF THE YEAR 2021 Another difficult year for musicians with gigs on and then off again at a bewildering rate. However undeterred the jazz scene once again showed its resilience and determination in the face of adversity with a host of wonderful recordings. Here we present our contributors choices from the albums reviewed over the last twelve months. |
MILES DAVIS - Thirty Years On: The musical legacy of his final decade
Appraisal by George Cole
Bassist/producer Marcus Miller says that musicians can only try to create music that reflects the times they are living in, but they have no control over how that music will be viewed further down the road, because no one knows what the road will be like in ten, fifty or a hundred years from now. The arts world is littered with composers, musicians, artists, novelists and playwrights who were the superstars of their day, but now, are not even a footnote of a footnote. Conversely, there are works (including architecture, music and art) that were dismissed in their day, but which are now viewed as masterpieces.
The musical legacy of Miles Davis is of course, vast and unquestionable, stretching from the late 1940s, when playing bebop with Charlie Parker and recording the Birth of the Cool sessions; the 1950s and his first great quintet, Kind of Blue and the classic collaborations with Gil Evans. In the 1960s there is the second great quintet, and the move into jazz-rock fusion with albums such as In A Silent Way and Bitches Brew. His jazz-rock-funk explorations of the 1970s, once dismissed by some as “noise” are now widely acknowledged as being ahead of their time, but what about the music from his last ten years?... continue reading
Appraisal by George Cole
Bassist/producer Marcus Miller says that musicians can only try to create music that reflects the times they are living in, but they have no control over how that music will be viewed further down the road, because no one knows what the road will be like in ten, fifty or a hundred years from now. The arts world is littered with composers, musicians, artists, novelists and playwrights who were the superstars of their day, but now, are not even a footnote of a footnote. Conversely, there are works (including architecture, music and art) that were dismissed in their day, but which are now viewed as masterpieces.
The musical legacy of Miles Davis is of course, vast and unquestionable, stretching from the late 1940s, when playing bebop with Charlie Parker and recording the Birth of the Cool sessions; the 1950s and his first great quintet, Kind of Blue and the classic collaborations with Gil Evans. In the 1960s there is the second great quintet, and the move into jazz-rock fusion with albums such as In A Silent Way and Bitches Brew. His jazz-rock-funk explorations of the 1970s, once dismissed by some as “noise” are now widely acknowledged as being ahead of their time, but what about the music from his last ten years?... continue reading
MARTIAL SOLAL - The End Of A Musical Journey
Appraisal by Jack Kenny
I have always thought that Martial Solal was cool. Now, I am certain. Solal’s concert on 23rd January 2019 was his last. Most jazz musicians are not able to choose when to stop. Lee Morgan (33) was shot by a jealous lover; Chet Baker (58) threw himself, or was thrown, from an Amsterdam hotel window; Duke Ellington (75) disappeared into hospital; Charlie Parker (34) died laughing at a cartoon; Monk (64) just faded away. Solal at 91 played a brilliant concert and announced it would be his last. He chose the time: supremely cool... continue reading
Appraisal by Jack Kenny
I have always thought that Martial Solal was cool. Now, I am certain. Solal’s concert on 23rd January 2019 was his last. Most jazz musicians are not able to choose when to stop. Lee Morgan (33) was shot by a jealous lover; Chet Baker (58) threw himself, or was thrown, from an Amsterdam hotel window; Duke Ellington (75) disappeared into hospital; Charlie Parker (34) died laughing at a cartoon; Monk (64) just faded away. Solal at 91 played a brilliant concert and announced it would be his last. He chose the time: supremely cool... continue reading
GEORGIA MANCIO - On An Ascending Trajectory
This piece was written for Women In Jazz Media, as an article to feature in their 'Women Who Inspire' series, as part of their celebrations of International Women's Day on the 8th March.
Vocalist and lyricist, Georgia Mancio, has come a long way and her career and achievements are quite inspirational. She is fiercely and passionately committed to what she believes in, and brings this same sense of determination to her own work. A perfectionist by nature she always strives for the best and can be incredibly hard on herself, and as we all do, harbours self-doubt about what she does and whether it lives up to the impossibly high expectations she expects of herself... continue reading
This piece was written for Women In Jazz Media, as an article to feature in their 'Women Who Inspire' series, as part of their celebrations of International Women's Day on the 8th March.
Vocalist and lyricist, Georgia Mancio, has come a long way and her career and achievements are quite inspirational. She is fiercely and passionately committed to what she believes in, and brings this same sense of determination to her own work. A perfectionist by nature she always strives for the best and can be incredibly hard on herself, and as we all do, harbours self-doubt about what she does and whether it lives up to the impossibly high expectations she expects of herself... continue reading
ALBUMS OF THE YEAR 2020
In what has been an unprecedented and worrying time, the music industry has been hit hard. Despite such difficult, and what at times seemed against impossible odds, new music continued to be released at a steady rate. As always there some outstanding releases throughout the year, and once again our reviewers have selected their favourite New Releases and Re-issues of 2020... continue reading
Photo by Alexa Drew
LOOKING FOR THE BLESSINGS!
Daniel Bennett offers hope during Coronavirus
by Sammy Stein with Daniel Bennett
Daniel Bennett has been hailed as one of the most original and unpredictable musical voices of his generation and is known for his free-thinking approach to music and life. In this crisis, he has been an outspoken voice of hope.
As we know Covid 19 or Coronavirus or the C word has made us all re-think the arts and we have discovered that musicians can be creative and resourceful. Online gigs, multi screened performances, articles and messages of hope appear almost every minute... continue reading
Daniel Bennett offers hope during Coronavirus
by Sammy Stein with Daniel Bennett
Daniel Bennett has been hailed as one of the most original and unpredictable musical voices of his generation and is known for his free-thinking approach to music and life. In this crisis, he has been an outspoken voice of hope.
As we know Covid 19 or Coronavirus or the C word has made us all re-think the arts and we have discovered that musicians can be creative and resourceful. Online gigs, multi screened performances, articles and messages of hope appear almost every minute... continue reading
CORONAVIRUS, MUSIC AND BEYOND by Sammy Stein
Musicians are resilient. They live on the front line of the gig economy - many of them literally relying on gigs for survival and things have changed remarkably over the past few years. Once, selling recordings was the way a band or individual made a living. The wealth was distributed - perhaps unfairly in many ways - with major bands getting millions of dollars for an album whilst artists just starting out made little but there was a reliance on people going to shops, buying the music and it made record labels, managers and some bands millions... continue reading
Musicians are resilient. They live on the front line of the gig economy - many of them literally relying on gigs for survival and things have changed remarkably over the past few years. Once, selling recordings was the way a band or individual made a living. The wealth was distributed - perhaps unfairly in many ways - with major bands getting millions of dollars for an album whilst artists just starting out made little but there was a reliance on people going to shops, buying the music and it made record labels, managers and some bands millions... continue reading
BITCHES BREW - Fifty Years On:
An Appreciation of ‘Bitches Brew’ on its 50th Anniversary by Chris Baber
Released on the 30th March 1970, Miles Davis’ ‘Bitches Brew’ is one of those albums that not only sounded right when it was released (capturing the spirit of adventure and revolution in the late ‘60s) but still sounds right today. It is also a record that suffers from carrying two unfounded myths that are repeated so often that it can be difficult to shake them. The first myth is that Miles’ record label, Columbia, somehow forced him to make a record that would give them a hit after his sales had been declining for the past few years. The second myth is that Miles was seeking to create a ‘jazz-rock’ record. The first of these is fairly easy to dismiss. Yes, Miles’ career had dropped from the high point in the early 60s, when he seemed to be winning every Poll going and could do no wrong. But this was as much to do with the way that jazz as genre ... continue reading
An Appreciation of ‘Bitches Brew’ on its 50th Anniversary by Chris Baber
Released on the 30th March 1970, Miles Davis’ ‘Bitches Brew’ is one of those albums that not only sounded right when it was released (capturing the spirit of adventure and revolution in the late ‘60s) but still sounds right today. It is also a record that suffers from carrying two unfounded myths that are repeated so often that it can be difficult to shake them. The first myth is that Miles’ record label, Columbia, somehow forced him to make a record that would give them a hit after his sales had been declining for the past few years. The second myth is that Miles was seeking to create a ‘jazz-rock’ record. The first of these is fairly easy to dismiss. Yes, Miles’ career had dropped from the high point in the early 60s, when he seemed to be winning every Poll going and could do no wrong. But this was as much to do with the way that jazz as genre ... continue reading
WOMEN IN THE MUSIC by Sammy Stein
I have been privileged to interview many women involved in the jazz industry. Not just musicians but also women who work in radio, PR, record labels and other key areas. I have learned about these talented women and their lives and they have proved amazing company. However, it is saddening to hear, amongst many positives about their jazz music careers, that gender is still an issue... continue reading
I have been privileged to interview many women involved in the jazz industry. Not just musicians but also women who work in radio, PR, record labels and other key areas. I have learned about these talented women and their lives and they have proved amazing company. However, it is saddening to hear, amongst many positives about their jazz music careers, that gender is still an issue... continue reading
ECM at 50: Jazz at Lincoln Center, Rose Theater, NYC
November 1, 2019
Edition of Contemporary Music, it’s initials commonly mistaken for Eicher Creative Music, or European Classical Music, has arguably changed the face of boundary pushing music more than any other label over the past fifty years... continue reading
November 1, 2019
Edition of Contemporary Music, it’s initials commonly mistaken for Eicher Creative Music, or European Classical Music, has arguably changed the face of boundary pushing music more than any other label over the past fifty years... continue reading
TOUCHSTONES - Celebrating 50 Years Of ECM
To celebrate its fiftieth year the imprint is re-issuing 50 titles that have been out of print under the Touchstones banner, with the first 25 of these having been released at the end of January, and a further 25 to be released later in the year.
A projected five four part series, exploring the Touchstone re-issues, with a brief synopsis of each album... continue reading
To celebrate its fiftieth year the imprint is re-issuing 50 titles that have been out of print under the Touchstones banner, with the first 25 of these having been released at the end of January, and a further 25 to be released later in the year.
A projected five four part series, exploring the Touchstone re-issues, with a brief synopsis of each album... continue reading
THE ART ENSEMBLE OF CHICAGO & ASSOCIATED ENSEMBLES - 50 YEARS ON
THE ART ENSEMBLE OF CHICAGO & ASSOCIATED ENSEMBLES
ECM 679 2089 2 (21-CD Box Set)
“The Art Ensemble of Chicago is alone in jazz history for reaching back conceptually to long before there ever was anything called jazz and moving toward a future beyond category.”
- Nat Hentoff
If the above quote seems a bit all-encompassing, then a cursory listen to the five albums by the AEC within this excellent (if large) box set merely affirm the accuracy of Hentoff's comment. Over the years since the final AEC album, and after the untimely passing of trumpeter Lester Bowie ECM has continued to record members of the Ensemble and most notably those that have been associated with the AEC, and thus building a substantial body of work that spans note only decades but multi-genre projects and albums that know no stylistic boundaries... continue reading
THE ART ENSEMBLE OF CHICAGO & ASSOCIATED ENSEMBLES
ECM 679 2089 2 (21-CD Box Set)
“The Art Ensemble of Chicago is alone in jazz history for reaching back conceptually to long before there ever was anything called jazz and moving toward a future beyond category.”
- Nat Hentoff
If the above quote seems a bit all-encompassing, then a cursory listen to the five albums by the AEC within this excellent (if large) box set merely affirm the accuracy of Hentoff's comment. Over the years since the final AEC album, and after the untimely passing of trumpeter Lester Bowie ECM has continued to record members of the Ensemble and most notably those that have been associated with the AEC, and thus building a substantial body of work that spans note only decades but multi-genre projects and albums that know no stylistic boundaries... continue reading
MILES DAVIS - Rubberband – a new direction for Miles
Article By George Cole
Almost thirty-three years ago, Miles Davis entered a recording studio in North Hollywood and began working on an album that would mark a new and radical musical direction for the jazz trumpeter. But for various reasons, the album Miles worked on for over three months never appeared. Now, on 21 April 2018, some of the music from those sessions is being released in a limited edition EP for Record Store Day.
The album Miles recorded, Rubberband, is often known as “The Lost Miles Davis album” and fascinates many Miles aficionados, in the same way that The Beatles’ unreleased “Carnival of Light” has been sought after by fans of the Fab Four....continue reading
Article By George Cole
Almost thirty-three years ago, Miles Davis entered a recording studio in North Hollywood and began working on an album that would mark a new and radical musical direction for the jazz trumpeter. But for various reasons, the album Miles worked on for over three months never appeared. Now, on 21 April 2018, some of the music from those sessions is being released in a limited edition EP for Record Store Day.
The album Miles recorded, Rubberband, is often known as “The Lost Miles Davis album” and fascinates many Miles aficionados, in the same way that The Beatles’ unreleased “Carnival of Light” has been sought after by fans of the Fab Four....continue reading
THE MAKING OF AS WARM AS THE SUN - The Recording of the Album: A Journal by Laura Cole
For many musicians the making of a solo album feels a natural thing to do, and also something of a giant leap of faith. If much of their music making is in the company of others, working through a composition as a ensemble sharing a unity of purpose, the solo performance is often a lonely pursuit but one which ultimately brings a different sense of reward for both performer and audience.
Following on from her earlier journal, these are Laura's thoughts on the process of recording the album and bringing the project to fruition...continue reading
For many musicians the making of a solo album feels a natural thing to do, and also something of a giant leap of faith. If much of their music making is in the company of others, working through a composition as a ensemble sharing a unity of purpose, the solo performance is often a lonely pursuit but one which ultimately brings a different sense of reward for both performer and audience.
Following on from her earlier journal, these are Laura's thoughts on the process of recording the album and bringing the project to fruition...continue reading
DIZZY GILLESPIE 1917 - 1983
Is it my imagination or are we in danger of underestimating Dizzy Gillespie? In 2017 Dizzy Gillespie’s centenary passes with barely a mention. Dizzy is not forgotten but he is not highly rated. He did clown around and in 2017 people tend to elevate musicians who were ‘serious’ and were ‘spiritual’.
Dizzy never played that game.
The trouble with Dizzy is that he was too good. You don’t get disciples when you play like Dizzy. His technique intimidates. Dizzy was phenomenal. Follow that! No way. Technique to spare. Eventually the speed and facility led critics to complain that he was superficial. Dizzy didn’t even take himself seriously. Critics even started to prefer trumpet players with little skill, where you could sense the struggle. True, Dizzy liked to laugh and joke: there are not too many jokes in ‘A Love Supreme’. Miles snarled rather than smiled...continue reading
Is it my imagination or are we in danger of underestimating Dizzy Gillespie? In 2017 Dizzy Gillespie’s centenary passes with barely a mention. Dizzy is not forgotten but he is not highly rated. He did clown around and in 2017 people tend to elevate musicians who were ‘serious’ and were ‘spiritual’.
Dizzy never played that game.
The trouble with Dizzy is that he was too good. You don’t get disciples when you play like Dizzy. His technique intimidates. Dizzy was phenomenal. Follow that! No way. Technique to spare. Eventually the speed and facility led critics to complain that he was superficial. Dizzy didn’t even take himself seriously. Critics even started to prefer trumpet players with little skill, where you could sense the struggle. True, Dizzy liked to laugh and joke: there are not too many jokes in ‘A Love Supreme’. Miles snarled rather than smiled...continue reading
THE LONELIEST MONK - Thelonious Sphere Monk 1917-1982
Thelonious Sphere Monk was born on 10th October, 1917 and one hundred years on from his birth it is fitting that we should still be celebrating the life and work of one of the musics true mavericks. The above mis-spelling or mispronunciation of his name to be more precise was how his wife Nellie once requested they play some of her husband's music on a local radio station.
Indeed, Monk suffered several periods of inactivity due to shortage of work during his career, and it testament to his dedication and belief in what he was doing that he pursued his music and left us a truly marvellous legacy of recorded work and compositions that have been revered by several generations of jazz musicians... continue reading
Thelonious Sphere Monk was born on 10th October, 1917 and one hundred years on from his birth it is fitting that we should still be celebrating the life and work of one of the musics true mavericks. The above mis-spelling or mispronunciation of his name to be more precise was how his wife Nellie once requested they play some of her husband's music on a local radio station.
Indeed, Monk suffered several periods of inactivity due to shortage of work during his career, and it testament to his dedication and belief in what he was doing that he pursued his music and left us a truly marvellous legacy of recorded work and compositions that have been revered by several generations of jazz musicians... continue reading
THE MAKING OF AS WARM AS THE SUN - A Journal by Laura Cole
For many musicians the making of a solo album feels a natural thing to do, and also something of a giant leap of faith. If much of their music making is in the company of others, working through a composition as a ensemble sharing a unity of purpose, the solo performance is often a lonely pursuit but one which ultimately brings a different sense of reward for both performer and audience.
Pianist, composer and bandleader, Laura Cole has now decided that it is time to take that leap of faith, and wrote on her Facebook page on 12th July; "Decided tonight that I will share publicly that in September I will be taking myself -and my ideas- to be developed to the Northern tip of mainland Scotland, to Lyth Arts Centre in Wick, for work on my first solo piano project, As Warm As The Sun.. .this is the 'solo thing' I have shied away from for many years, but I think now is the time to confront it and see what music comes out of it.. think it takes courage to do it and I think I need to see where my courage- and my music- can take me. The album, in whatever form it will take, will be released on the Discus label by Martin Archer."
Shortly after reading this open and honest statement, I contacted Laura and invited her to share her thoughts and feelings throughout the process, from the residency at Lyth Arts that lead up to the time booked at the studio to record the album. Laura had already thoughts about about keeping a journey or diary of her experience, and agreed to submit a daily entry of her thoughts and feelings during the making of As Warm As The Sun to be published in Jazz Views...continue reading
For many musicians the making of a solo album feels a natural thing to do, and also something of a giant leap of faith. If much of their music making is in the company of others, working through a composition as a ensemble sharing a unity of purpose, the solo performance is often a lonely pursuit but one which ultimately brings a different sense of reward for both performer and audience.
Pianist, composer and bandleader, Laura Cole has now decided that it is time to take that leap of faith, and wrote on her Facebook page on 12th July; "Decided tonight that I will share publicly that in September I will be taking myself -and my ideas- to be developed to the Northern tip of mainland Scotland, to Lyth Arts Centre in Wick, for work on my first solo piano project, As Warm As The Sun.. .this is the 'solo thing' I have shied away from for many years, but I think now is the time to confront it and see what music comes out of it.. think it takes courage to do it and I think I need to see where my courage- and my music- can take me. The album, in whatever form it will take, will be released on the Discus label by Martin Archer."
Shortly after reading this open and honest statement, I contacted Laura and invited her to share her thoughts and feelings throughout the process, from the residency at Lyth Arts that lead up to the time booked at the studio to record the album. Laura had already thoughts about about keeping a journey or diary of her experience, and agreed to submit a daily entry of her thoughts and feelings during the making of As Warm As The Sun to be published in Jazz Views...continue reading
JOHN COLTRANE - 1926 to 1967: Fifty Years On...
On the 17th July, 1967 jazz lost the last of the major innovators of the music and the repercussions are still being felt fifty years later.
It is arguable that after Coltrane's death the music became too diverse to have any one musician that would have a seismic effect during their lifetime, but John William Coltrane did just that. Shaking off his drug and alcohol addiction, along with any remaining self doubt he set about starting a revolution in jazz. His playing would astound fellow musicians from a technical stand point, whilst alienating some jazz fans and gaining new followers along the way.
To mark the ocassion, Jazz Views interviews tenor saxophonists Tommy Smith and Paul Dunmall, and Matthew Bradley and Chris Baber re-visit the classic albums, A Love Supreme and Ascension. There is also a wealth of album reviews of Trane's greatest recordings along with new releases dedicated to a quiet man who made an enormous impact on the musical development of the 20th Century... continue reading
On the 17th July, 1967 jazz lost the last of the major innovators of the music and the repercussions are still being felt fifty years later.
It is arguable that after Coltrane's death the music became too diverse to have any one musician that would have a seismic effect during their lifetime, but John William Coltrane did just that. Shaking off his drug and alcohol addiction, along with any remaining self doubt he set about starting a revolution in jazz. His playing would astound fellow musicians from a technical stand point, whilst alienating some jazz fans and gaining new followers along the way.
To mark the ocassion, Jazz Views interviews tenor saxophonists Tommy Smith and Paul Dunmall, and Matthew Bradley and Chris Baber re-visit the classic albums, A Love Supreme and Ascension. There is also a wealth of album reviews of Trane's greatest recordings along with new releases dedicated to a quiet man who made an enormous impact on the musical development of the 20th Century... continue reading
PAT METHENY GROUP - Still Life (Talking) Thirty Years On: An Appreciation
Thirty years ago in 1987, the Pat Metheny Group released the defining “Still Life (Talking)”. The album was significant in several ways, as much as it was an expansion on the Brazilian sound of “First Circle”, it was also a departure. The guitarist’s ending of a nine year relationship with ECM signaled a resounding shift that reverberates to this day. Metheny was the first jazz artist to be signed to Geffen records in 1985, releasing the brilliant if controversial “Song X” with free jazz icon, the late Ornette Coleman that perhaps did even more to solidify his reputation amongst jazz purists than “80/81” (ECM, 1980) as a force to be reckoned with. “Song X” revealed in no uncertain terms that he had reached an unprecedented level of creative and artistic control that at the time for any jazz artist was extremely rare: his Metheny Group Productions imprint allowed for complete freedom to make the product, Geffen only distributed the final album. “Still Life (Talking)” sonically is a masterpiece, the use of the recording studio as an instrument is increased tenfold with engineer Rob Eaton at the helm who was an assistant engineer for “First Circle” beginning to define the sonic signature of the Metheny Group which he would refine and perfect over the next eighteen years...continue reading
Thirty years ago in 1987, the Pat Metheny Group released the defining “Still Life (Talking)”. The album was significant in several ways, as much as it was an expansion on the Brazilian sound of “First Circle”, it was also a departure. The guitarist’s ending of a nine year relationship with ECM signaled a resounding shift that reverberates to this day. Metheny was the first jazz artist to be signed to Geffen records in 1985, releasing the brilliant if controversial “Song X” with free jazz icon, the late Ornette Coleman that perhaps did even more to solidify his reputation amongst jazz purists than “80/81” (ECM, 1980) as a force to be reckoned with. “Song X” revealed in no uncertain terms that he had reached an unprecedented level of creative and artistic control that at the time for any jazz artist was extremely rare: his Metheny Group Productions imprint allowed for complete freedom to make the product, Geffen only distributed the final album. “Still Life (Talking)” sonically is a masterpiece, the use of the recording studio as an instrument is increased tenfold with engineer Rob Eaton at the helm who was an assistant engineer for “First Circle” beginning to define the sonic signature of the Metheny Group which he would refine and perfect over the next eighteen years...continue reading
MILES DAVIS - 1926 to 1991: A Musical Legacy
Twenty five years ago, on the 28th September, 1991 an era passed with the death of Miles Davis. In a career that spanned five decades the importance of Davis'contribution to the music of the 20th Century cannot be ignored or indeed diminished with the passing of time.
In the rich recorded legacy that he left behind, Miles not only changed the face of jazz no less that five times, but was also able to reach an audience that went beyond the confines of a single musical genre, engaging with people that were not jazz fans but Miles Davis fans.
To mark the occasion, Jack Kenny, musician Julian Nicholas and George Cole (author of The Last Miles) revisit some of the key recordings and relationships that were so important in Miles' career and that have influenced subsequent generations of musicians...continue reading
Twenty five years ago, on the 28th September, 1991 an era passed with the death of Miles Davis. In a career that spanned five decades the importance of Davis'contribution to the music of the 20th Century cannot be ignored or indeed diminished with the passing of time.
In the rich recorded legacy that he left behind, Miles not only changed the face of jazz no less that five times, but was also able to reach an audience that went beyond the confines of a single musical genre, engaging with people that were not jazz fans but Miles Davis fans.
To mark the occasion, Jack Kenny, musician Julian Nicholas and George Cole (author of The Last Miles) revisit some of the key recordings and relationships that were so important in Miles' career and that have influenced subsequent generations of musicians...continue reading
CHARLIE “YARDBIRD” PARKER - 29th August 1920 to 12th March 1955
On the 12th March 1955, Charlie Parker died at the age of 34 and jazz had lost one its major innovators. Leaving behind a timeless musical legacy, jazz would never be the same again. Taking the music to an art form, when Bird and his fellow musicians assembled at Minton Playhouse a new music was born in be-bop. Sixty years after his death many of his recordings are now regarded as classic performances, and are listened to and studied by musicians and jazz enthusiasts all over the world.
To mark the anniversary of his death Jack Kenny, Roy Booth and Nick Lea take a look Parker’s recorded legacy, tributes and some of the books that have been written about this now legendary musician.
On the 12th March 1955, Charlie Parker died at the age of 34 and jazz had lost one its major innovators. Leaving behind a timeless musical legacy, jazz would never be the same again. Taking the music to an art form, when Bird and his fellow musicians assembled at Minton Playhouse a new music was born in be-bop. Sixty years after his death many of his recordings are now regarded as classic performances, and are listened to and studied by musicians and jazz enthusiasts all over the world.
To mark the anniversary of his death Jack Kenny, Roy Booth and Nick Lea take a look Parker’s recorded legacy, tributes and some of the books that have been written about this now legendary musician.
A SERVICE OF THANKSGIVING FOR THE LIFE OF KENNY
WHEELER
(14th January 1930 - 18th September 2014)
ST.JAMES'S CHURCH, SUSSEX GARDENS,PADDINGTON : 31st OCTOBER 2014
(14th January 1930 - 18th September 2014)
ST.JAMES'S CHURCH, SUSSEX GARDENS,PADDINGTON : 31st OCTOBER 2014
LIVE REVIEW: KATE & MIKE WESTBROOK - 'The Serpent Hit, a Fable’
Approaching a concert by Mike and Kate Westbrook is like entering into the presence of the Royal Family. By now they are almost beyond criticism. Garlanded with OBEs, prizes and praise going back fifty years, they just have to turn up and people will listen in reverential silence.
That was the atmosphere at Wilton’s Music Hall when the new album ’The Serpent Hit” was launched. If you have not been to Wilton’s and you live in the London area you should look up the coming attractions and find something that you would enjoy. It is down a little alley that acts like a time machine taking you back through the years. It originally
started out as a public house in 1828 and became a music hall in 1858 and now is the only one quite like it left in London. The theatre is an unrestored example of the 'giant pub hall'. There is a gallery, on three sides which is
supported by 'barley sugar' cast iron pillars. It is a Grade 2 listed building and in 2007 the World Monuments Fund
added the building to its list of the world's "100 most endangered sites".
The concert was in two parts. The trio played the first half: Mike Westbrook piano, Kate Westbrook voice and Chris Biscoe, alto and soprano sax. It was an intriguing set particularly the interplay between Mike Westbrook and Biscoe. A blues developed from Jimmy Yancey piece was the highlight. Kate Westbrook delved into the work of Kurt Weill and the Gershwins as well as her own lyrics.
For the second half the music from the new album was played. Projected across the back of the stage was the magnificent painting developed by Kate to illustrate the album. ‘The Serpent Hit’ has been around for some time. Chris Caldwell (baritone saxophone), explained that it has been growing and developing. Kate Westbrook says that she wanted it to be about the end of the world and the way that human kind is screwing up the world. Conscious that such a scenario could be doom ridden she has turned it into a kind of game. She hopes that it has a cabaret feel over laid with irony so that its seriousness is offset.
Mike Westbrook wrote all the music but he hardly played at all in the main piece. He claims that he tried to ensure that there are lots of idioms: marches, cabaret and bebop. He has used them in different ways, shuffled them around so that they relate in different ways to the lyrics. The whole piece is in six movements: 'Throw', 'Lob'. 'Hurl', 'Pitch', 'Trigger' and 'Strike'. It was in the instrumental 'Pitch' that we could hear clearly the beauty of Mike Westbrook’s
writing for the quartet of saxophones. Chris Caldwell’s baritone richly underpinned the sounds.
The unusual encore, and who else but the Westbrooks would do it, was the rendition of a musical hall song ‘Slap Bang Here We are Again’ from 1865.
The two Westbrooks are unique. They carry on across the years with their inimitable stylings but I am sure that I was not the only one in the audience who would have preferred more of Mike and less of Kate and the same goes for the album.
That was the atmosphere at Wilton’s Music Hall when the new album ’The Serpent Hit” was launched. If you have not been to Wilton’s and you live in the London area you should look up the coming attractions and find something that you would enjoy. It is down a little alley that acts like a time machine taking you back through the years. It originally
started out as a public house in 1828 and became a music hall in 1858 and now is the only one quite like it left in London. The theatre is an unrestored example of the 'giant pub hall'. There is a gallery, on three sides which is
supported by 'barley sugar' cast iron pillars. It is a Grade 2 listed building and in 2007 the World Monuments Fund
added the building to its list of the world's "100 most endangered sites".
The concert was in two parts. The trio played the first half: Mike Westbrook piano, Kate Westbrook voice and Chris Biscoe, alto and soprano sax. It was an intriguing set particularly the interplay between Mike Westbrook and Biscoe. A blues developed from Jimmy Yancey piece was the highlight. Kate Westbrook delved into the work of Kurt Weill and the Gershwins as well as her own lyrics.
For the second half the music from the new album was played. Projected across the back of the stage was the magnificent painting developed by Kate to illustrate the album. ‘The Serpent Hit’ has been around for some time. Chris Caldwell (baritone saxophone), explained that it has been growing and developing. Kate Westbrook says that she wanted it to be about the end of the world and the way that human kind is screwing up the world. Conscious that such a scenario could be doom ridden she has turned it into a kind of game. She hopes that it has a cabaret feel over laid with irony so that its seriousness is offset.
Mike Westbrook wrote all the music but he hardly played at all in the main piece. He claims that he tried to ensure that there are lots of idioms: marches, cabaret and bebop. He has used them in different ways, shuffled them around so that they relate in different ways to the lyrics. The whole piece is in six movements: 'Throw', 'Lob'. 'Hurl', 'Pitch', 'Trigger' and 'Strike'. It was in the instrumental 'Pitch' that we could hear clearly the beauty of Mike Westbrook’s
writing for the quartet of saxophones. Chris Caldwell’s baritone richly underpinned the sounds.
The unusual encore, and who else but the Westbrooks would do it, was the rendition of a musical hall song ‘Slap Bang Here We are Again’ from 1865.
The two Westbrooks are unique. They carry on across the years with their inimitable stylings but I am sure that I was not the only one in the audience who would have preferred more of Mike and less of Kate and the same goes for the album.
The Serpent Hit is released on Westbrook Records
and is funded by Airshaft Trust, providers of grants to contemporary composers and performers.
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and is funded by Airshaft Trust, providers of grants to contemporary composers and performers.
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JAZZ FOR BABIES
Quite simply, Jazz For Babies, is exactly what is says; although scratch the surface a little deeper and as you can well imagine the title is somewhat of a simplification of a well thought out and conceived project that can serve a wider purpose than those three words would initially conjure up.
The concept is very simple. Research has shown that music played to unborn infants in the womb is not only heard, but also recalled after they are born. It is therefore easy to understand that a musician whose partner, or they themselves, are expecting a child would find the idea of stimulating their unborn infant with music hard to resist, and one such musician is bassist Michael Janisch. "From my own research and instinct as a musician" says Janisch, "I knew that by introducing a baby to the right kind of music at the earliest age, or inded in the womb can help give rise to a calm and serene baby, as well as developing creativity and individuality."
The concept is very simple. Research has shown that music played to unborn infants in the womb is not only heard, but also recalled after they are born. It is therefore easy to understand that a musician whose partner, or they themselves, are expecting a child would find the idea of stimulating their unborn infant with music hard to resist, and one such musician is bassist Michael Janisch. "From my own research and instinct as a musician" says Janisch, "I knew that by introducing a baby to the right kind of music at the earliest age, or inded in the womb can help give rise to a calm and serene baby, as well as developing creativity and individuality."
Unable to find music, not only suitable for playing to babies in utero, and especially of his chosen genre, Janisch has gone one step further and produced five CDs of some of the most well- loved songs, performed as lullabies on acoustic instruments in a jazz idiom with all the pieces having room for improvisation.
There has been extensive research over the years of the power of music, and we can perhaps draw much from this by looking at our own musical development throughout our lives, whether as in the case of Janisch as professional musician, or as listeners. From our formative years as youngsters through to teenage years, and into adulthood our
musical tastes will vary and continue to grow as we travel through life. Some of us may have dramatic shifts in our musical preferences over a period of time, and others have their tastes formed at an early stage in their life which will remain with them, but what of this ability of the unborn baby or young child to absorb and develop from aural
stimulation?
"Music has the ability to communicate in a way that goes far beyond our imagination" says Dr Alexandra Lamont, a Lecturer in Music Psychology at Keele University. "It can transfer a musical language containing all kinds of emotional and educational messages, which can be understood unconsciously by all babies worldwide, regardless of
race or ethnic background."
A significant research has been conducted over the years into the benefit of playing music to unborn babies
and researchers now believe that musical stimulation actually creates new pathways in the brain, and can have positive effects on our moods that may make learning easier. It is possible that due to the improvisatory nature of the
music that listening to jazz may have benefits that are not so readily indentifiable in other genres. Dr Charles Limb from John Hopkin University, and Dr Allan Braun from the National Institutes of Health believes that “During jazz improvisation, the brain lets self-expression flow, thus turning up creativity and conveying individuality.” Whilst DeDee Coulter, a Specialist in Musical Patterning and Neurological Development takes this further by saying that “Jazz Music can lift the listener into Theta consciousness. Theta waves give birth to artistic and spiritual insight.”
There has been extensive research over the years of the power of music, and we can perhaps draw much from this by looking at our own musical development throughout our lives, whether as in the case of Janisch as professional musician, or as listeners. From our formative years as youngsters through to teenage years, and into adulthood our
musical tastes will vary and continue to grow as we travel through life. Some of us may have dramatic shifts in our musical preferences over a period of time, and others have their tastes formed at an early stage in their life which will remain with them, but what of this ability of the unborn baby or young child to absorb and develop from aural
stimulation?
"Music has the ability to communicate in a way that goes far beyond our imagination" says Dr Alexandra Lamont, a Lecturer in Music Psychology at Keele University. "It can transfer a musical language containing all kinds of emotional and educational messages, which can be understood unconsciously by all babies worldwide, regardless of
race or ethnic background."
A significant research has been conducted over the years into the benefit of playing music to unborn babies
and researchers now believe that musical stimulation actually creates new pathways in the brain, and can have positive effects on our moods that may make learning easier. It is possible that due to the improvisatory nature of the
music that listening to jazz may have benefits that are not so readily indentifiable in other genres. Dr Charles Limb from John Hopkin University, and Dr Allan Braun from the National Institutes of Health believes that “During jazz improvisation, the brain lets self-expression flow, thus turning up creativity and conveying individuality.” Whilst DeDee Coulter, a Specialist in Musical Patterning and Neurological Development takes this further by saying that “Jazz Music can lift the listener into Theta consciousness. Theta waves give birth to artistic and spiritual insight.”
Whilst much of the research so far conducted will relate to music of all genres, and not specifically to jazz, the above comments will I am sure strike a chord with many readers of this site as jazz as an art form places an emphasis on the individual and self expression, along with working collectively towards a common goal. These are traits that we would all wish for in our offspring, an inteliigent, well balanced, calm and relaxed indivual who is not afraid to express themselves.
Since the release of the albums in June 2013, Jazz For Babies has been receiving feedback from new and expecting mothers that indicates playing this calming and soothing music they have found that the music is not only of enjoyment and benefit to the child, but that they themselves often feel more relaxed. If current research is far from complete or conclusive, the testimony of parents will offer reassure other expectant mothers and fathers that exposure to jazz and music in general can be of a major benefit.
For more information or to order Jazz For Babies, visit www.jazzforbabies.org
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Since the release of the albums in June 2013, Jazz For Babies has been receiving feedback from new and expecting mothers that indicates playing this calming and soothing music they have found that the music is not only of enjoyment and benefit to the child, but that they themselves often feel more relaxed. If current research is far from complete or conclusive, the testimony of parents will offer reassure other expectant mothers and fathers that exposure to jazz and music in general can be of a major benefit.
For more information or to order Jazz For Babies, visit www.jazzforbabies.org
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WYNTON MARSALIS - live web stream from Ronnie Scott's on
Tuesday 23rd July - 10:30pm (BST)
In a Ronnie Scott’s first, jazz legend Wynton Marsalis’ sold out show on Tuesday 23rd July is to be broadcast live to a potential audience of millions around the world. Thanks to the power of the internet and a ground breaking partnership with Panasonic, a world-wide audience will be given an unparalleled opportunity to experience the famed ambience of one of the world’s most iconic venues, swinging to one of jazz’s most iconic stars, all in stunning HD.
Wynton Marsalis is arguably the most influential jazz musician of the last 40 years. His take on the music’s history, his virtuoso trumpet playing, sense of tradition and stewardship of the Lincoln Centre Jazz Orchestra has inspired a new generation
of ‘young lions’, putting him at the very forefront of the music worldwide. In addition to winning nine Grammy Awards, he was the first jazz musician to receive the Pulitzer Prize for music. His international accolades include honorary
membership in Britain’s Royal Academy of Music and the insignia Chevalier of the Legion of Honor, France’s highest distinction. He has more than 70 albums to his credit, which have sold more than 7 million copies, and three albums earned three gold records.
Tickets for Wynton Marsalis’ three night (six show) run from 22nd July sold out in a matter of hours, primarily to club members, so, with demand for tickets to see the legendary trumpeter, band leader and cultural champion far out-stripping demand, there is no better time to launch this exciting new venture. Just as the BBC gave unprecedented coverage of Glastonbury, live streaming from Ronnie Scott’s gives a unique opportunity to those unable to secure tickets to enjoy the music and take a sneak peak inside one of the world’s most iconic venues.
With a capacity of just 220, and almost all shows a complete sell-out, Ronnie Scott’s has turned to technology to help take the unique Ronnie’s experience beyond the walls of the club. Simon Cooke, the club’s Managing Director, explains: ”We are keen to give those who can’t make the journey into London’s Soho, people too far away or simply those who can’t get a ticket the opportunity to enjoy the Ronnie Scott’s magic for themselves and we are delighted that an artist of Wynton’s stature, arguably the most influential jazz musician of the last forty years, has agreed to feature in our very first broadcast from the club.”
As expected from Ronnie Scott’s the technical set-up will be of high end, with a state -of-the art multi camera AV set-up alongside a
broadcast and recording studio installed in the historic Frith Street venue. The broadcast will be shot using discreetly positioned Panasonic integrated remote video cameras and at least one handheld (the same used by the BBC for HD recording). Meanwhile the club’s AV team will mix the audio/visual stream live, broadcasting in-the-moment vivid high definition images onto screens and into home across the globe. This remarkably sophisticated multi-camera set up – undoubtedly one of the best in the world for a club of this size -
allows low-light filming of multiple positions giving viewers a genuine impression of being amidst the live audience and a real feeling for the intimate atmosphere of one of the world’s greatest jazz clubs - all without detracting from the experience of those lucky enough to have a ticket to the show.
Access to the broadcast is free.
Viewers will simply need to log onto the club’s
website www.ronniescotts.co.uk at 10.30pm BST on Tuesday 23rd July.
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broadcast and recording studio installed in the historic Frith Street venue. The broadcast will be shot using discreetly positioned Panasonic integrated remote video cameras and at least one handheld (the same used by the BBC for HD recording). Meanwhile the club’s AV team will mix the audio/visual stream live, broadcasting in-the-moment vivid high definition images onto screens and into home across the globe. This remarkably sophisticated multi-camera set up – undoubtedly one of the best in the world for a club of this size -
allows low-light filming of multiple positions giving viewers a genuine impression of being amidst the live audience and a real feeling for the intimate atmosphere of one of the world’s greatest jazz clubs - all without detracting from the experience of those lucky enough to have a ticket to the show.
Access to the broadcast is free.
Viewers will simply need to log onto the club’s
website www.ronniescotts.co.uk at 10.30pm BST on Tuesday 23rd July.
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LOL COXHILL - A CD RETROSPECTIVE
After hearing the sad news that saxophonist Lol Coxhill had passed away in July, it was only fitting that a return to some of his recordings would be an appropriate way to pay respects to a truly original musician, and a genuinely nice person.
This is a review that I wrote in July 2003 for the original Jazz Views website, that still retains it validity and prompts one to revisit the music once again.
Lol Coxhill/Howard Riley - Duology
SLAMCD 249
Lol Coxhill (ss); Howard Riley (p)
A meeting of musical minds in what appears to be the first full CD recording of the pair, although they have played together many times over the last quarter of a century; and therein lies the crux of this CD. A collaboration that shows just how far both men have travelled in that time span, and yet how atuned they are to each others playing.
Riley has in some respects taken a more circuitous route from composition based playing to finding his way to free improvisation, and recently a return back to more structured environments. However, if variety is indeed the spice of life, the pianist shows every intent of keeping a foot firmly in both camps and exploring the grey areas in between, whilst keeping his debt and admiration to Thelonious Monk very much in the mix. Lol is Lol, and plays himself. If perhaps the changes and methods employed by the saxophonist over the years seem less dramatic, he has a recorded body of work that is remarkable in its consistency and sheer variety of contexts in which the Coxhill sound has been not just accepted but readily embraced.Both players have a long history and wealth of experience as solo players, and it is with this very much in mind they approach the music on this disc. Not so much a musical dialogue, but two separate monologues that cross paths and occasionally meet in the most unexpected places.
Split into two distinct halves, the first seven improvisations were recorded at a private session in the afternoon prior to the gig, and tracks 8 to 12 recorded at the evening performance, the music follows a logical path and sequence from one session to the next. On this outing it is perhaps Riley who follows the straighter path, with the soprano exploring the range and timbres of the horn, and the natural acoustics of the room, and this is demonstrated on the longer ‘live’ pieces recorded at the evening session. Both ‘Two Timing’ and ‘Hearing Is Believing’, at 17 minutes and 11 minutes respectively, allow the interplay to develop over a longer time span without ever meandering, whilst the shorter cuts ranging between 3 and 7 minutes certainly help to focus the mind. A fascinating glimpse into the creative processes of two master musicians.
August 2012
Lol Coxhill (ss); Howard Riley (p)
A meeting of musical minds in what appears to be the first full CD recording of the pair, although they have played together many times over the last quarter of a century; and therein lies the crux of this CD. A collaboration that shows just how far both men have travelled in that time span, and yet how atuned they are to each others playing.
Riley has in some respects taken a more circuitous route from composition based playing to finding his way to free improvisation, and recently a return back to more structured environments. However, if variety is indeed the spice of life, the pianist shows every intent of keeping a foot firmly in both camps and exploring the grey areas in between, whilst keeping his debt and admiration to Thelonious Monk very much in the mix. Lol is Lol, and plays himself. If perhaps the changes and methods employed by the saxophonist over the years seem less dramatic, he has a recorded body of work that is remarkable in its consistency and sheer variety of contexts in which the Coxhill sound has been not just accepted but readily embraced.Both players have a long history and wealth of experience as solo players, and it is with this very much in mind they approach the music on this disc. Not so much a musical dialogue, but two separate monologues that cross paths and occasionally meet in the most unexpected places.
Split into two distinct halves, the first seven improvisations were recorded at a private session in the afternoon prior to the gig, and tracks 8 to 12 recorded at the evening performance, the music follows a logical path and sequence from one session to the next. On this outing it is perhaps Riley who follows the straighter path, with the soprano exploring the range and timbres of the horn, and the natural acoustics of the room, and this is demonstrated on the longer ‘live’ pieces recorded at the evening session. Both ‘Two Timing’ and ‘Hearing Is Believing’, at 17 minutes and 11 minutes respectively, allow the interplay to develop over a longer time span without ever meandering, whilst the shorter cuts ranging between 3 and 7 minutes certainly help to focus the mind. A fascinating glimpse into the creative processes of two master musicians.
August 2012
