STAN SULZMANN - Celebrating 70
The month of November find the saxophonist out and about touring with his big band, the Neon Orchestra, and as Stan says, "I’m celebrating my 70th birthday, I’m out playing with great musicians and friends and I’ve written three new pieces. I also get to have fun playing some of my collection of my arrangements of British jazz musicians melodies that have stayed with me. Making a small tour with funding is a great opportunity to make all of this happen under good conditions in great venues. The band as always is a cross generational band reflecting my musical associations over the years. Performing and touring with a big band has always been difficult to get together, but opportunities do pop up now and again if you are lucky"
Modesty prevents Sulzmann from saying that what really makes the tour special is not just fact that he is celebrating his 70th birthday, or the undoubted calibre of the members of the band, but quite simply the quality of the writing. A fact that is apparent to all who have heard his composing and arranging skills, but Stan simply sums it up as "Writing I enjoy as a solitary experience and I write mostly for myself. Once writing is in progress then there is momentum to get it performed. I just love the process of writing which in part is puzzle solving when it comes to arranging."
Puzzle solving seems to be something that Stan has been rather good at over the years, and the saxophonist applies this principal to bandleading as well, having the knack of being able to keep bands together over a period of time and also negotiating changes, that often lead to new and exciting projects and developments in his music, as became evident with the trio he led with Jim Hart on vibes and pianist, Gwilym Simcock. "The original group was ‘Neon’ ", explains Stan. "When Gwilym left to concentrate on his own blossoming career I asked Kit Downes to join on piano and organ but felt the group needed to be different in some way in order for it move forward, hence we added Tim Giles on drums who had the right musical breadth and creativity, and so the Neon Quartet was formed. Kit like Gwilym has a very strong personal identity so I never wanted to just replace Gwilym, the group had to change. Our last album for Edition Records, Subjekt, did mark a development in the group away from the original trio, which is what I wanted to happen. Kit was also writing music for the group. I very much enjoyed the challenge of playing music from a younger generation and both Kit and Jim are great composers. However we haven’t played for quite some time now as Jim Hart now lives in the Alsace in France, so sadly financial and travel logistics plus Kit being exceedingly busy with his own projects have brought it to a pause for now. We did discuss adding a bass player at one point… We’ll see! "
As well as the Neon Quartet, Stan also leads another quartet with Nick Smart on trumpet, Ross Stanley on organ and again Tim Giles, which plows an altogether different furrow. "I suppose this group is more ‘jazz’ in the stricter sense of the word", say Stan. "I’ve always had an eclectic taste in music of all kinds and I still love to play in this more traditional setting. I used to play in R&B bands when I was sixteen particularly at the old Flamingo Club in Wardour St where I played regularly with Tony Knights' group opposite Georgie Fame and Zoot Money including the all nighters until 6.00am. I still love the sound of those bands and there were some great jazz players in those groups. Glen Hughes on baritone sax and Bill Eyden on drums for example. John Mclaughlin and Harry Becket I think worked with Ronnie Jones and the Night Timers… true R& B music."
Modesty prevents Sulzmann from saying that what really makes the tour special is not just fact that he is celebrating his 70th birthday, or the undoubted calibre of the members of the band, but quite simply the quality of the writing. A fact that is apparent to all who have heard his composing and arranging skills, but Stan simply sums it up as "Writing I enjoy as a solitary experience and I write mostly for myself. Once writing is in progress then there is momentum to get it performed. I just love the process of writing which in part is puzzle solving when it comes to arranging."
Puzzle solving seems to be something that Stan has been rather good at over the years, and the saxophonist applies this principal to bandleading as well, having the knack of being able to keep bands together over a period of time and also negotiating changes, that often lead to new and exciting projects and developments in his music, as became evident with the trio he led with Jim Hart on vibes and pianist, Gwilym Simcock. "The original group was ‘Neon’ ", explains Stan. "When Gwilym left to concentrate on his own blossoming career I asked Kit Downes to join on piano and organ but felt the group needed to be different in some way in order for it move forward, hence we added Tim Giles on drums who had the right musical breadth and creativity, and so the Neon Quartet was formed. Kit like Gwilym has a very strong personal identity so I never wanted to just replace Gwilym, the group had to change. Our last album for Edition Records, Subjekt, did mark a development in the group away from the original trio, which is what I wanted to happen. Kit was also writing music for the group. I very much enjoyed the challenge of playing music from a younger generation and both Kit and Jim are great composers. However we haven’t played for quite some time now as Jim Hart now lives in the Alsace in France, so sadly financial and travel logistics plus Kit being exceedingly busy with his own projects have brought it to a pause for now. We did discuss adding a bass player at one point… We’ll see! "
As well as the Neon Quartet, Stan also leads another quartet with Nick Smart on trumpet, Ross Stanley on organ and again Tim Giles, which plows an altogether different furrow. "I suppose this group is more ‘jazz’ in the stricter sense of the word", say Stan. "I’ve always had an eclectic taste in music of all kinds and I still love to play in this more traditional setting. I used to play in R&B bands when I was sixteen particularly at the old Flamingo Club in Wardour St where I played regularly with Tony Knights' group opposite Georgie Fame and Zoot Money including the all nighters until 6.00am. I still love the sound of those bands and there were some great jazz players in those groups. Glen Hughes on baritone sax and Bill Eyden on drums for example. John Mclaughlin and Harry Becket I think worked with Ronnie Jones and the Night Timers… true R& B music."
Nikki Iles & Dave Holland
From the above line ups and bands that Stan is involved with, it is apparent that he likes to mix this things up and keep it fresh. From writing and performing with big band and quartet, and performing contemporary original compositions alongside standards he also frequently finds himself in that most intimate of settings, the duo. " I've been playing in duos for many many years dating back to the duo with John Taylor in the 1980/90s, with US pianist and friend for over forty years Marc Copland and then with Nikki Iles", says Stan. "I love the freedom in this situation and feel challenged by the responsibility by not being fed by bass and drums. It’s been an enormous learning curve playing in this situation and of course was influenced by other wonderful pairings. Bill Evans and Jim Hall and the most memorable were Bob Brookmeyer and Jim Hall at the original Bracknell Jazz Festival. Playing this music made me want to learn more about line playing and a better understanding of how the diatonic harmony worked particularly in the Great American Song Book type material."
With the partnership with Nikki being an on-going collaboration for nearly 20 years, I ask the saxophonist how he felt that the music had developed over time? Pausing, Stan says, "I think all musical relationships are unique and special and intimate. I learned so much from spending so many wonderful years playing with John Taylor. Nikki, like John produces a special sound from the piano, a combination of touch and harmony and use of the range. Nikki and I both love 'tunes' be it standards or original material. We have enough varied material although still growing to be able to have flexible sets where we can suddenly play something not planned, we both can play solo intros and of course we both write. The duo has been an opportunity to play and record some wonderful tunes from the great jazz repertoire book and catch up with my roots."
This duo of Nikki Iles and Stan have recorded two wonderful albums, Stardust & the earlier Treasure Trove and are now set to relase another collaboration, this time with the addition of Dave Holland on double bass. "It's basically available now" explains Stan, "although we haven’t had an official launch gig. It’s titled Lush Life, which is one of the pieces we recorded. I’ve always been fascinated with this tune. I know Dave from way back with Kenny Wheeler's Big band and the month long quintet European tour we did with John Taylor which resulted in Kenny’s record Flutterby Butterfly recorded in Milan. I love Dave's way of playing, so contemporary but rooted in a deep jazz tradition. We’ve spent many a moment talking about US bassist Leroy Vinegar who we both love. The recording was made whilst Dave was available in this country and just seemed like a nice thing to do."
Over the years, Sulzmann has had a particular affinity with pianists and had a had a very productive duo with John Taylor. When I asked Stan about this partnership he immediately relies "Oh this would need a lot of space. Maybe one of my greatest musical influences. I love John's compositions and his writing for all sorts of ensembles. He was a great Big Band writer and also orchestral writer. I spent a week in Bremen with John where he arranged his music for an hours worth of music for the NDR with the Radio Symphony Orchestra (around 30yrs ago). For me it remains a remarkable experience. Also the wonderful Sextet that I was part of starting in my twenties with Kenny Wheeler, Chris Pyne (trombone), Tony Levin (drums), Chris Laurence (bass). Sadly Chris Laurence and I are the sole survivors. That was a remarkable band, John wrote wonderful pieces and arranged them in such a unique way they often sounded like a 17 piece band. The melodies were haunting as well as exciting and full of a joy for life. The years working as a duo meant I got a close look at John’s music and we spent many happy hours at his place in Kent after a quick lunchtime ‘refreshment’ then in his music room playing through this and that just for fun. We played standards and of course Kenny Wheeler tunes which was the focus of the duo and played from John's scrapbook of ‘ideas’ which was great fun."
With the partnership with Nikki being an on-going collaboration for nearly 20 years, I ask the saxophonist how he felt that the music had developed over time? Pausing, Stan says, "I think all musical relationships are unique and special and intimate. I learned so much from spending so many wonderful years playing with John Taylor. Nikki, like John produces a special sound from the piano, a combination of touch and harmony and use of the range. Nikki and I both love 'tunes' be it standards or original material. We have enough varied material although still growing to be able to have flexible sets where we can suddenly play something not planned, we both can play solo intros and of course we both write. The duo has been an opportunity to play and record some wonderful tunes from the great jazz repertoire book and catch up with my roots."
This duo of Nikki Iles and Stan have recorded two wonderful albums, Stardust & the earlier Treasure Trove and are now set to relase another collaboration, this time with the addition of Dave Holland on double bass. "It's basically available now" explains Stan, "although we haven’t had an official launch gig. It’s titled Lush Life, which is one of the pieces we recorded. I’ve always been fascinated with this tune. I know Dave from way back with Kenny Wheeler's Big band and the month long quintet European tour we did with John Taylor which resulted in Kenny’s record Flutterby Butterfly recorded in Milan. I love Dave's way of playing, so contemporary but rooted in a deep jazz tradition. We’ve spent many a moment talking about US bassist Leroy Vinegar who we both love. The recording was made whilst Dave was available in this country and just seemed like a nice thing to do."
Over the years, Sulzmann has had a particular affinity with pianists and had a had a very productive duo with John Taylor. When I asked Stan about this partnership he immediately relies "Oh this would need a lot of space. Maybe one of my greatest musical influences. I love John's compositions and his writing for all sorts of ensembles. He was a great Big Band writer and also orchestral writer. I spent a week in Bremen with John where he arranged his music for an hours worth of music for the NDR with the Radio Symphony Orchestra (around 30yrs ago). For me it remains a remarkable experience. Also the wonderful Sextet that I was part of starting in my twenties with Kenny Wheeler, Chris Pyne (trombone), Tony Levin (drums), Chris Laurence (bass). Sadly Chris Laurence and I are the sole survivors. That was a remarkable band, John wrote wonderful pieces and arranged them in such a unique way they often sounded like a 17 piece band. The melodies were haunting as well as exciting and full of a joy for life. The years working as a duo meant I got a close look at John’s music and we spent many happy hours at his place in Kent after a quick lunchtime ‘refreshment’ then in his music room playing through this and that just for fun. We played standards and of course Kenny Wheeler tunes which was the focus of the duo and played from John's scrapbook of ‘ideas’ which was great fun."
Taking a backwards glance over Sulzmann's long career and discography the wide variety of styles and settings that the saxophonist has played are neatly documented, so I ask Stan if there are any that hold particular memories for him? "Of course they all have a memory" comes the immediate reply. " Of my own recordings I still love the very first record (not on CD) called On Loan With Gratitude with John Taylor, Ron Mathewson and Tony Levin, which was my quartet for about ten years. The CD Birthdays Birthdays was very special as it represented my writing for Big band, which didn’t start till I was 40 and was recorded for my 50th Birthday. There are a lot of great musicians on that record that mean so much to me still. Jigsaw made in New York with my friend Marc Copland and Bill Stewart and Larry Grenadier is pretty special to me too. I'd played a couple of times with Bill who was very young and a member of Marc’s trio - I still love that drumming the essence of time playing. Larry I'd heard on recordings and Marc said he liked to play with Bill Stewart. It was a difficult time in my life as I lost both parents, my mum just a few weeks before and my dad sometime after. I wrote the tunes in four days as I nearly cancelled the recording but my wife Sarah encouraged me to go, as it would be great therapy. It was facilitated by Christine Allen of Basho Records and I enjoyed every minute of playing with those incredibly intuitive musicians. a wonderful experience. Of the people groups I’ve been lucky to be a part of a great deal of recordings. To me the most memorable are Music For Large & Small Ensembles by Kenny Wheeler and Clark After Dark, featuring Clark Terry with big band and strings, no solos but part of such beautiful writing and playing."
One thing that does stand out is the number of big bands that Stan has been involved with from Gil Evans, Kenny Wheeler, Mike Gibbs, John Warren, Kenny Clarke and Francy Boland Big Band, and the European Jazz Ensemble to name just a few, so I ask Stan if these associations have influenced his own writing for large ensembles? "Undoubtedly! but there are a few that aren’t household names like UK’s Steve Gray. I particularly loved the way that Mike Gibbs wrote. I also played in Maynard Ferguson’s band, which had some great straight ahead US charts. I also was lucky enough whilst working on the Queen Mary in 1967 to have heard the ‘original’ Mel Lewis Thad Jones band at least half dozen times at the Village Vanguard, when Bob Brookmeyer was still in the band and writing and a very good writer trombonist Tom Macintosh. Joe Farrell, Pepper Adams Richard Williams etc. I loved the pacing, no rush to get to the climax but when it did your hair stood on end and some great writing particularly from Brookmeyer as well as Thad."
So if the above names have influenced Stan as a writer and arranger, who would he cite as influences as a player, I ask? "Oh, so many people and not necessarily sax players at all. Zoot Sims, Stan Getz, Sonny Rollins, Joe Henderson, Miles Davis, Clifford Brown, Herbie Hancock, Bill Evans... how am I doing?". Having a had a question now thrown back at me, my answer has to be "nicely, very nicely indeed", as even the most cursory listen to Lush Life with Stan, Nikki and Dave Holland will testify. And if this isn't sufficient, you could do a lot worse than spending a few hours checking out more of Stan's albums form his substantial discography.
One thing that does stand out is the number of big bands that Stan has been involved with from Gil Evans, Kenny Wheeler, Mike Gibbs, John Warren, Kenny Clarke and Francy Boland Big Band, and the European Jazz Ensemble to name just a few, so I ask Stan if these associations have influenced his own writing for large ensembles? "Undoubtedly! but there are a few that aren’t household names like UK’s Steve Gray. I particularly loved the way that Mike Gibbs wrote. I also played in Maynard Ferguson’s band, which had some great straight ahead US charts. I also was lucky enough whilst working on the Queen Mary in 1967 to have heard the ‘original’ Mel Lewis Thad Jones band at least half dozen times at the Village Vanguard, when Bob Brookmeyer was still in the band and writing and a very good writer trombonist Tom Macintosh. Joe Farrell, Pepper Adams Richard Williams etc. I loved the pacing, no rush to get to the climax but when it did your hair stood on end and some great writing particularly from Brookmeyer as well as Thad."
So if the above names have influenced Stan as a writer and arranger, who would he cite as influences as a player, I ask? "Oh, so many people and not necessarily sax players at all. Zoot Sims, Stan Getz, Sonny Rollins, Joe Henderson, Miles Davis, Clifford Brown, Herbie Hancock, Bill Evans... how am I doing?". Having a had a question now thrown back at me, my answer has to be "nicely, very nicely indeed", as even the most cursory listen to Lush Life with Stan, Nikki and Dave Holland will testify. And if this isn't sufficient, you could do a lot worse than spending a few hours checking out more of Stan's albums form his substantial discography.
For more information visit Stan's Website. Click on the album cover to read our review of Lush Life.
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