CLARK TRACEY
Drummer, Clark Tracey is now into his fourth decade a leader of some of the finest straight ahead small groups in the UK, using these groups to introduce new young talent to a wider audinece. This is no better in evidence than in Clark's latest release, No Doubt, on his own TenToTen Records imprint.
In a distinguished career, from the age of seventeen he was the driving force behind the bands, large or small, of pianist father Stan Tracey to leading his own groups or teaching at the Royal Birmingham Conservatoire, or as a promoter of the Herts Jazz Club and their annual Festival he tirelessly works to keep the music he loves alive and swinging.
It was therefore a real pleasure to ask Clark about his all time Top Ten favourite albums.
In a distinguished career, from the age of seventeen he was the driving force behind the bands, large or small, of pianist father Stan Tracey to leading his own groups or teaching at the Royal Birmingham Conservatoire, or as a promoter of the Herts Jazz Club and their annual Festival he tirelessly works to keep the music he loves alive and swinging.
It was therefore a real pleasure to ask Clark about his all time Top Ten favourite albums.
ROY HAYNES QUARTET - Out of the Afternoon
Roy’s performance on this album dramatically changed my perspective on how to play drums. The sound and tuning of his drums were special enough but it was the first time I’d heard such tasteful economy in his solo work and accompaniment. Every track is gold but Snap Crackle in particular stands out as the most exemplary and I encourage all my students to transcribe and learn this one.
STAN TRACEY BIG BAND - Alice in Jazz Land
I was 5 years old when Stan recorded this album so there’s a huge nostalgia fix for me here. His writing though, the first under his own name for big band, remains quite idiosyncratic and unique. Performing it again recently, it is as fresh as when he wrote it. And some of the soloists, Bobby Wellins, Ronnie Scott, Tubby Hayes, Kenny Baker, are a shining example of British jazz from the Sixties.
Roy’s performance on this album dramatically changed my perspective on how to play drums. The sound and tuning of his drums were special enough but it was the first time I’d heard such tasteful economy in his solo work and accompaniment. Every track is gold but Snap Crackle in particular stands out as the most exemplary and I encourage all my students to transcribe and learn this one.
STAN TRACEY BIG BAND - Alice in Jazz Land
I was 5 years old when Stan recorded this album so there’s a huge nostalgia fix for me here. His writing though, the first under his own name for big band, remains quite idiosyncratic and unique. Performing it again recently, it is as fresh as when he wrote it. And some of the soloists, Bobby Wellins, Ronnie Scott, Tubby Hayes, Kenny Baker, are a shining example of British jazz from the Sixties.
STAN TRACEY / KEITH TIPPETT - TNT
This is a special recording to me. It was recorded live at the Wigmore Hall in London and totally improvised. I was at the concert and clearly recall the magic created that night. You would be forgiven for imagining this was a composition by perhaps a modern classical composer, so fluid and sympathetic is the harmonic and rhythmic flow throughout the performance. I’d happily take this to a desert island, knowing I’d always hear something new or in a different context.
THELONIOUS MONK - Brilliant Corners
I grew up with an abundance of Monk recordings on the turntable but I’ve picked this out of them all perhaps for the drumming of Max Roach who makes sense of Monk’s material in a personalised way. His solo on the title track for example is pure Max, an unusual form that doubles tempo every other chorus. Back in 1957 it took 25 takes apparently to nail it! Also the voice of Sonny Rollins is strong along with Clark Terry. Monk plays celeste on a couple of tracks, all making this album a little different from his usual output.
This is a special recording to me. It was recorded live at the Wigmore Hall in London and totally improvised. I was at the concert and clearly recall the magic created that night. You would be forgiven for imagining this was a composition by perhaps a modern classical composer, so fluid and sympathetic is the harmonic and rhythmic flow throughout the performance. I’d happily take this to a desert island, knowing I’d always hear something new or in a different context.
THELONIOUS MONK - Brilliant Corners
I grew up with an abundance of Monk recordings on the turntable but I’ve picked this out of them all perhaps for the drumming of Max Roach who makes sense of Monk’s material in a personalised way. His solo on the title track for example is pure Max, an unusual form that doubles tempo every other chorus. Back in 1957 it took 25 takes apparently to nail it! Also the voice of Sonny Rollins is strong along with Clark Terry. Monk plays celeste on a couple of tracks, all making this album a little different from his usual output.
DUKE ELLINGTON - Live at Newport 1956
This is one of the most swinging albums ever. Most famously, it includes the 27 chorus solo by Paul Gonsalves on a blues that ignited the festival audience and actually made headlines. The drummer was Sam Woodyard whose backing on this track was as crucial to the reaction as Gonsalves’ solo itself. A double album, the whole concert from 1956 is incredible. We hear a very swinging version of Skin Deep featuring Woodyard along with a soulful Harry Carney on Sophisticated Lady. Another one for the desert island collection.
MILES DAVIS - Four And More
This album opened my ears for the first time to the genius of Tony Williams and I’ve attempting to emulate it ever since! His dynamics, tension and releases, drive and fertile imagination all make Tony a unique entity in jazz. This album in particular, although lacking in Tony’s solo work, contains great tunes, a meandering approach on occasion, but mostly invention, a much misused term today. This is the true definition of that word, never mind when it was recorded.
This is one of the most swinging albums ever. Most famously, it includes the 27 chorus solo by Paul Gonsalves on a blues that ignited the festival audience and actually made headlines. The drummer was Sam Woodyard whose backing on this track was as crucial to the reaction as Gonsalves’ solo itself. A double album, the whole concert from 1956 is incredible. We hear a very swinging version of Skin Deep featuring Woodyard along with a soulful Harry Carney on Sophisticated Lady. Another one for the desert island collection.
MILES DAVIS - Four And More
This album opened my ears for the first time to the genius of Tony Williams and I’ve attempting to emulate it ever since! His dynamics, tension and releases, drive and fertile imagination all make Tony a unique entity in jazz. This album in particular, although lacking in Tony’s solo work, contains great tunes, a meandering approach on occasion, but mostly invention, a much misused term today. This is the true definition of that word, never mind when it was recorded.
CANNONBALL ADDERLEY QUINTET - Mercy, Mercy, Mercy
This album is a delight. Every track brings a message of joy and groove. Apart from the famous title track, The Sticks, Fun, Games etc are all wonderful compositions and, take it from me, a great deal of fun to play on. It was recorded in front of an invited audience in a studio and the spontaneous reaction brings each track to life. At various times I’ve been lucky enough to record 4 of the 6 tracks here.
ART BLAKEY & THE JAZZ MESSENGERS - Moanin’
Probably the biggest influence on me in terms of band leading is Art Blakey who I was fortunate to meet and befriend back in 1974. Most young drummers tend to latch onto Blakey I think for his energy as well as his language, a whole book of personalised quotes he employed throughout his career. He once told me he was advised to do that to stand out from the other drummers – it definitely worked for him. This is an iconic album: Blue Note, Art Blakey, Gretsch drums, K Zildjians. What more can I say?
This album is a delight. Every track brings a message of joy and groove. Apart from the famous title track, The Sticks, Fun, Games etc are all wonderful compositions and, take it from me, a great deal of fun to play on. It was recorded in front of an invited audience in a studio and the spontaneous reaction brings each track to life. At various times I’ve been lucky enough to record 4 of the 6 tracks here.
ART BLAKEY & THE JAZZ MESSENGERS - Moanin’
Probably the biggest influence on me in terms of band leading is Art Blakey who I was fortunate to meet and befriend back in 1974. Most young drummers tend to latch onto Blakey I think for his energy as well as his language, a whole book of personalised quotes he employed throughout his career. He once told me he was advised to do that to stand out from the other drummers – it definitely worked for him. This is an iconic album: Blue Note, Art Blakey, Gretsch drums, K Zildjians. What more can I say?
SONNY RLLINS - Newk’s Time
Another Blue Note album, which occasionally slips through the net, this is a fiercely exciting recording featuring Philly Joe Jones with Wynton Kelly and Doug Watkins. Philly’s solo work on here is mind blowing. The Surrey With The Fringe On Top is a duet between Philly and Sonny, resulting in a superb set of exchanges, Rollins in cheeky exploratory mode and Philly employing his considerable technique combined with his unique percussive rhetoric, much copied by a host of today’s drummers. I often play this when I think I might be losing the plot!
SONNY ROLLINS - A Night At the Village Vanguard
I’ve played this to death, essentially for the outstanding playing of Elvin Jones whose work on brushes as well as sticks is so highly personalised that it requires a category all to itself in jazz drumming. His famous ‘push/pull’ of the time is much in evidence here, the overriding factor being how hard he swings. I was able to watch him many times in London years ago and saw at first hand how he pulled it off. There never was, nor will be again, a drummer like Elvin. Sonny’s musical invention on this album was the perfect foil for Elvin who, of course, later became the energy behind Coltrane’s tenor.
Another Blue Note album, which occasionally slips through the net, this is a fiercely exciting recording featuring Philly Joe Jones with Wynton Kelly and Doug Watkins. Philly’s solo work on here is mind blowing. The Surrey With The Fringe On Top is a duet between Philly and Sonny, resulting in a superb set of exchanges, Rollins in cheeky exploratory mode and Philly employing his considerable technique combined with his unique percussive rhetoric, much copied by a host of today’s drummers. I often play this when I think I might be losing the plot!
SONNY ROLLINS - A Night At the Village Vanguard
I’ve played this to death, essentially for the outstanding playing of Elvin Jones whose work on brushes as well as sticks is so highly personalised that it requires a category all to itself in jazz drumming. His famous ‘push/pull’ of the time is much in evidence here, the overriding factor being how hard he swings. I was able to watch him many times in London years ago and saw at first hand how he pulled it off. There never was, nor will be again, a drummer like Elvin. Sonny’s musical invention on this album was the perfect foil for Elvin who, of course, later became the energy behind Coltrane’s tenor.
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