WENDY KIRKAND & PAT SPRAKES
Pianist and vocalist, Wendy Kirkland, has been a firm favourite on the UK jazz scene for the last two decades. With the release of her debut album Piano Divas in 2017 it was became apparent just how good she is. A talent to watch, if you will. Her second album, The Music's On Me is even better, and proves that Wendy is the real deal.
She juggles the difficult discipline of singing and playing with aplomb, crafting superb piano solos and accompanying herself with a deft and assured touch at the keyboard.
Throughout these endeavours she has been ably supported by her guitarist husband, Pat Sprakes, who brings an additional warmth and finesse to Wendy's music with his sensitive accompaniment and equally fine solos.
Of their selection of ten favourite albums, Wendy says "When Pat and I agreed to split the honours on this, we knew there would be many glaring omissions. I’d have loved to include Carmen Lundy, Toots Thielemans, Shirley Horn, Herbie Hancock, Chick Corea…oh the list goes on! The albums we’ve chosen are ones that we would never press the ‘skip’ button whilst listening to them."
She juggles the difficult discipline of singing and playing with aplomb, crafting superb piano solos and accompanying herself with a deft and assured touch at the keyboard.
Throughout these endeavours she has been ably supported by her guitarist husband, Pat Sprakes, who brings an additional warmth and finesse to Wendy's music with his sensitive accompaniment and equally fine solos.
Of their selection of ten favourite albums, Wendy says "When Pat and I agreed to split the honours on this, we knew there would be many glaring omissions. I’d have loved to include Carmen Lundy, Toots Thielemans, Shirley Horn, Herbie Hancock, Chick Corea…oh the list goes on! The albums we’ve chosen are ones that we would never press the ‘skip’ button whilst listening to them."
Wendy Kirkland
HORACE SILVER - Blowing the Blues Away (1959)
When I was studying jazz piano in my late twenties, my teacher recommended Horace Silver as
someone to check out for his excellent rhythmic comping. What she didn’t tell me was he was also
an incredible composer and soloist. This album was one of the first I bought and is still a favourite.
Every track, in the order in which it has been placed, fits perfectly to me, and reminds me of my
original aspirations as a jazz pianist.
ELAINE ELIAS- Paulistana (1993)
My good friend trombonist Andy Derrick recommended this album to me. I already had a couple of
her albums, but this was a much earlier work than the ones I’d bought. Elias’ writing is astonishing,
especially on the title track, and her pianistic skills are to this day horribly underrated in my humble
opinion. Although some reviewers expressed dismay at her singing on this album – one of the first
times she had attempted it – I much prefer the naïve, honest sound she makes to the ‘toothpastetube’ sound which seems to be expected of today’s vocalists.
When I was studying jazz piano in my late twenties, my teacher recommended Horace Silver as
someone to check out for his excellent rhythmic comping. What she didn’t tell me was he was also
an incredible composer and soloist. This album was one of the first I bought and is still a favourite.
Every track, in the order in which it has been placed, fits perfectly to me, and reminds me of my
original aspirations as a jazz pianist.
ELAINE ELIAS- Paulistana (1993)
My good friend trombonist Andy Derrick recommended this album to me. I already had a couple of
her albums, but this was a much earlier work than the ones I’d bought. Elias’ writing is astonishing,
especially on the title track, and her pianistic skills are to this day horribly underrated in my humble
opinion. Although some reviewers expressed dismay at her singing on this album – one of the first
times she had attempted it – I much prefer the naïve, honest sound she makes to the ‘toothpastetube’ sound which seems to be expected of today’s vocalists.
GEORGE DUKE - A Brazilian Love Affair (1979)
The sound of this album to me is like the holiday I have yet to take in Brazil. As well as the melodic,
soulful, and downright groovy title track, the other tracks, featuring guests such as Flora Purim and
Milton Nascimento, stamp their Brazilian authenticity on the set. A host of Brazilian and US
musicians are included on guitar, bass and Latin percussion, not the least of which is Airto Moreira. I
listen to this when I need cheering up.
CARLA BLEY - Sextet (1987)
Bley’s sense of humour always comes through to me – the rhythms on this album set range from
slow pop to Latin, through the reggae-inflected The Girl Who Cried Champagne which contains a
cameo Bley Hammond solo – quirky, minimalistic but perfect. The album ends with the frankly filthy blues, Healing Power, Bley’s perfectly placed power chords on the Hammond raising the set to its zenith. Late-night listening at its best.
The sound of this album to me is like the holiday I have yet to take in Brazil. As well as the melodic,
soulful, and downright groovy title track, the other tracks, featuring guests such as Flora Purim and
Milton Nascimento, stamp their Brazilian authenticity on the set. A host of Brazilian and US
musicians are included on guitar, bass and Latin percussion, not the least of which is Airto Moreira. I
listen to this when I need cheering up.
CARLA BLEY - Sextet (1987)
Bley’s sense of humour always comes through to me – the rhythms on this album set range from
slow pop to Latin, through the reggae-inflected The Girl Who Cried Champagne which contains a
cameo Bley Hammond solo – quirky, minimalistic but perfect. The album ends with the frankly filthy blues, Healing Power, Bley’s perfectly placed power chords on the Hammond raising the set to its zenith. Late-night listening at its best.
DIANNE REEVES - Dianne Reeves (1987)
Why Dianne Reeves isn’t a household name has always baffled me. Her voice is so technically on
point yet always remains soulful. Sky Island, originally a hit for US jazz fusion band Caldera (on which
Reeves herself features as wordless vocalist) illustrates this point perfectly; the modulating bridge
which had no words in the Caldera version, Reeves sings a soaring section beginning with the words
“Spirit…(something something) knows no boundaries” but she sings so fast, I’ve never been able to
discern all the lyrics to this section! Notable collaborators include Herbie Hancock (see, I squeezed
him in!) this album includes his composition Chan’s Song which has always been a favourite of mine
and Pat’s. As a plus the album is produced by George Duke – yep, I’m a fan!
Why Dianne Reeves isn’t a household name has always baffled me. Her voice is so technically on
point yet always remains soulful. Sky Island, originally a hit for US jazz fusion band Caldera (on which
Reeves herself features as wordless vocalist) illustrates this point perfectly; the modulating bridge
which had no words in the Caldera version, Reeves sings a soaring section beginning with the words
“Spirit…(something something) knows no boundaries” but she sings so fast, I’ve never been able to
discern all the lyrics to this section! Notable collaborators include Herbie Hancock (see, I squeezed
him in!) this album includes his composition Chan’s Song which has always been a favourite of mine
and Pat’s. As a plus the album is produced by George Duke – yep, I’m a fan!
Pat Sprakes
GRANT GREEN - Idle moments (1965)
A hard bop album with a more mellow feel to it. Green was known for his bebop lines, but this
album somehow has a cool or soulful feel to it. Including pianist Duke Pearson, a tasteful and
measured player, Joe Henderson on saxophone, Bobby Hutcherson on vibraphone, Bob Cranshaw on
bass and Al Harewood on drums. The title track is mesmerising and long, which was an accident on
recording, but the longer take was kept because it had a feel that none of the later takes had, so a
happy accident. This album has everything; recording by Rudy van Gelder, production Alfred Lion
and of course the great Blue Note artwork and liner notes.
A hard bop album with a more mellow feel to it. Green was known for his bebop lines, but this
album somehow has a cool or soulful feel to it. Including pianist Duke Pearson, a tasteful and
measured player, Joe Henderson on saxophone, Bobby Hutcherson on vibraphone, Bob Cranshaw on
bass and Al Harewood on drums. The title track is mesmerising and long, which was an accident on
recording, but the longer take was kept because it had a feel that none of the later takes had, so a
happy accident. This album has everything; recording by Rudy van Gelder, production Alfred Lion
and of course the great Blue Note artwork and liner notes.
EMILY REMLER & LARRY CORYELL - Together (1985)
Remler has always been a major influence for me – I could have chosen any of her albums, but this
gives me a chance to include Coryell too! Larry had a very varied career encompassing latin jazz as
well as fusion and was influenced by Wes Montgomery, as was Remler, they both stand up to, and
take turns to bow to each other and complement each other eminently on this album. A superb,
accomplished guitar duo album with a great variety of feels to the tracks they chose to play.
BILL EVANS & JIM HALL Intermodulation (1966)
The second album collaboration following 1962’s Undercurrent; I could have chosen either of these
albums. It’s the sensitivity of both players, they don’t play it safe, they just don’t have to play lots of
complex runs to be exciting. All the tracks are good. The whole album has a feel and a mood, you
want to listen to it all. Just listening to the juxtaposed Hall chords against single Evans’ octave piano notes on Claus Ogerman’s Jazz Samba shows just how they both deeply understood the power of collaborative interaction, the importance of the space between notes as well as the notes themselves.
Remler has always been a major influence for me – I could have chosen any of her albums, but this
gives me a chance to include Coryell too! Larry had a very varied career encompassing latin jazz as
well as fusion and was influenced by Wes Montgomery, as was Remler, they both stand up to, and
take turns to bow to each other and complement each other eminently on this album. A superb,
accomplished guitar duo album with a great variety of feels to the tracks they chose to play.
BILL EVANS & JIM HALL Intermodulation (1966)
The second album collaboration following 1962’s Undercurrent; I could have chosen either of these
albums. It’s the sensitivity of both players, they don’t play it safe, they just don’t have to play lots of
complex runs to be exciting. All the tracks are good. The whole album has a feel and a mood, you
want to listen to it all. Just listening to the juxtaposed Hall chords against single Evans’ octave piano notes on Claus Ogerman’s Jazz Samba shows just how they both deeply understood the power of collaborative interaction, the importance of the space between notes as well as the notes themselves.
ORGE BENSON - The George Benson Cookbook (1967)
Benson at his blistering best. The sheer energy, technical ability and perennial great feel of Benson’s
playing coupled with a great rhythm section all chipping in doing their bits, not to mention Ronnie
Cuber’s grunting, at times grumpy baritone and Lonnie Smith’s powerhouse Hammond all add up to
a tasty treat. Containing several Benson compositions, this was him on the road to great things, or
maybe he had already got there! I could have picked many albums of Bensons that would also
qualify. Probably all of them, but that would be missing the point.
WES MONTGOMERY - The Incredible Jazz Guitar of Wes Montgomery (1960)
His time at Riverside I would say is probably his best period for material, Tommy Flanagan on piano,
Percy and Albert Heath of the Modern Jazz Quartet on bass and drums respectively. This title
contains several of Wes’ own compositions including Four on Six and Mr Walker, but for me it’s West Coast Blues that is really his signature tune. Montgomery is probably my number one influence. Listening to him always makes me happy, because when I watch him, it looks like playing the guitar is making him happy.
Benson at his blistering best. The sheer energy, technical ability and perennial great feel of Benson’s
playing coupled with a great rhythm section all chipping in doing their bits, not to mention Ronnie
Cuber’s grunting, at times grumpy baritone and Lonnie Smith’s powerhouse Hammond all add up to
a tasty treat. Containing several Benson compositions, this was him on the road to great things, or
maybe he had already got there! I could have picked many albums of Bensons that would also
qualify. Probably all of them, but that would be missing the point.
WES MONTGOMERY - The Incredible Jazz Guitar of Wes Montgomery (1960)
His time at Riverside I would say is probably his best period for material, Tommy Flanagan on piano,
Percy and Albert Heath of the Modern Jazz Quartet on bass and drums respectively. This title
contains several of Wes’ own compositions including Four on Six and Mr Walker, but for me it’s West Coast Blues that is really his signature tune. Montgomery is probably my number one influence. Listening to him always makes me happy, because when I watch him, it looks like playing the guitar is making him happy.
For more information and to purchase Wendy's albums visit wendykirkland.com
Click on the album covers below to read our reviews
Click on the album covers below to read our reviews
|
|
|
