When I was about 18 I went to see Jim play with Mike Carr for the first time and was simply blown away. I approached him in the break and asked what I should be practicing as I’d only recently started to try to fathom out how to play jazz on the guitar. He looked at me and said one word – TUNES!

And therein lies the secret to Jim’s wonderful playing. Every note he plays is in the pursuit of something melodic. That, coupled with an innate sense of swing and a profound feeling for the blues, make Jim one of the greatest of all jazz guitarists.

This latest release, although under Jim’s name, is in fact a true group effort with American organist Ben Paterson alongside saxophonist Jan Harbeck and drummer Kristian Leth, both from Denmark, playing WITH Jim and not merely behind him.

One is reminded of those classic Grant Green or Wes Montgomery recordings from the 50’s and 60’s as the band work their way sensitively through a selection of great standards (the solitary original being Jim’s own Medication). In this day and age of jazz needing to be constantly ground-breaking it’s a relief to listen to an album that is more ground-affirming!

Nothing outstays its welcome here. The heads are shared, the solos are short and concise, the arangements are simple yet perfectly crafted and the whole thing, 11 tracks in total, demonstrates that often-missed dynamic of ‘bubbling’ away without ever descending into bombast.

It’s unnecessary to single out any track on this record; each follows the last so well that it really should be listened to more as a suite than a collection of individual numbers. One gets the sense that the quartet are firmly ‘on the same page’ throughout. There’s no competition here; no grandstanding. Each and every selection is performed in the pursuit of something way beyond ‘check me out’! What a refreshing thing that is for listeners who love “tunes”!

As for Jim himself, this album proves he is playing as well, if not better, than ever. All those years at jazz’s coalface leave us with a musician at the peak of his craft. At an age where many musicians might start to slow down, Jim just keeps on going; out there night after night, serving the tune and improvising at the highest level.

For Heaven’s Sake is a very welcome addition to Mullen’s recorded legacy and will surely introduce the rest of the group to a wider audience. They certainly deserve it. If nothing else, it will serve as a reminder that jazz, in its purest form, is safe in the hands of musicians like Jim Mullen and this fabulous quartet. Will somebody, please, bring this group to the UK?

The post Jim Mullen Quartet – ‘For Heaven’s Sake’ first appeared on UK Jazz News.

Since Django Reinhardt’s passing in 1953, the ‘Hot Club’ scene has flourished and evolved seemingly independent of the broader jazz world. 

Rarely does it get mentioned as a musical force in the press. Rarely does it get included as an integral part of the general jazz festival circuit. Yet, it survives and it develops so that now, a new generation of Django disciples are here; establishing themselves and driving the music forward.

They have their own clubs, their own festivals, their own record labels and their own fanbase. A self-contained and self-sustaining branch of the jazz family tree.

During Django’s own short career, which roughly spans the years 1934-1953, he was a constant musical sponge taking in whatever developments were happening in jazz during that tumultuous period. His two primary influences, Louis Armstrong and Dizzy Gillespie, bookend the birth of swing and the consolidation of bebop and Reinhardt’s playing embraced both.

The same applies to succeeding generations of Gypsy-flavoured guitarists. These days you can hear the influence of everyone from George Benson to Jimi Hendrix and, guitarist Remi Harris who tours this month with his Hot Club Trio is no exception.

Harris is an extraordinarily fluid, buoyant and versatile musician. The Hot Club Trio  is just one of his musical outlets; he can also be seen regularly touring with his Peter Green ‘homage’ where he can be heard playing just as authentically as a rock guitarist as he does as a jazz improviser. 

Remi is also about to release his third book of Gypsy jazz licks and etudes which have occupied the top of the Amazon book charts. On top of this, he is working on a new album and is gaining a large and keen following on social media where he regularly posts nuggets of Hot Club and blues-rock guitar which are helping to spread the word.

Accompanied by his regular cohorts Tom Moore (bass) and Chris Nesbitt (guitar) Harris tours throughout the UK through April in a variety of venues. 

Between April 2nd and 28th the trio will criss-cross the UK before venturing over to Portugal for one of the many annual Reinhardt-themed festivals that take place globally.

The group then reconvene for more UK dates in May and into June.

Yes, one will hear lots of Reinhardt influence with this group but, Remi is quick to point out that other flavours will be present too; especially those of Peter Green, Wes Montgomery, Jimi Hendrix and Joe Pass. It’s how Django himself would have liked it!

Remi plays a variety of acoustic and electric guitars for the show. It’s as though the Hot Club element is merely a springboard to ultimately take us on a journey through the evolution of the guitar from its humble place as a rhythm instrument in the early jazz groups to the solo force it became from the late 40’s on.

Along the way, one can expect a heady mix of swing jazz, blues, rock n roll and world music all woven into their original compositions and new arrangements of well established material.

This may all sound like a gig that would only attract players and fans of the guitar. Granted, there will be guitarists queueing up for an earful of Remi’s dazzling technique and delivery but, that shouldn’t deter any follower of jazz and blues from taking in the show the the Harris trio offer regardless of their preferred instrumentation.

There has long been an argument that the guitar spent a large part of the 20th Century playing catch-up in comparison to the piano and horn-led innovations in jazz. However, as John Etheridge once pointed out, since the 60’s, the guitar has been so present, influential and integral to the musical landscape that horn and keys players couldn’t avoid finding themselves incorporating guitar language into their playing. 

And, as Django’s hero Louis Armstrong once said “a note’s a note in any language!”

The Remi Harris Hot Club Trio speak in a language that anyone can understand. Even those moments of blistering arpeggios, chromatic runs and mind-boggling leaps across the guitar fretboard will still sound coherent, melodic and highly musical. This may well be the secret to Remi Harris’ continuing success; a rare ability to impress the aficionado and lay-person in equal measure.

The Remi Harris Hot Club Trio Tour

Tues 2nd April – Yardbird Arts Jazz & Blues Club, Worcestershire – SOLD OUT

Fri 5th April – The Acorn, Penzance

Sat 6th April – St Austell Arts Centre

Sun 7th April – Acapela Studio, Cardiff – SELLING FAST

Fri 12th April – St Swithuns, Worcester – SOLD OUT

Sat 13th April – Woodcote Village Hall, Oxfordshire – LIMITED AVAILABILITY

Sun 14th April – The Stables, Milton Keynes – LIMITED AVAILABILITY

Thurs 18th April – Crazy Coqs, London – BOOKINGS

Fri 19th April – St Alban’s Church, Frant, Tunbridge Wells – LIMITED AVAILABILITY

Sat 20th April – Kino-Teatr, St Leonards, East Sussex

Thurs 25th April – The Courtyard, Hereford – SOLD OUT

Fri 26th April – CICCIC, Taunton

Sat 27th April – Peggy’s Skylight, Nottingham

Sun 28th April – Norwich Jazz Club

Wed 29th May – Shrivenham Jazz

Fri 31st May – The Lighthouse, Poole

Sat 1st June – Calstock Arts, Cornwall

The post Remi Harris Hot Club Trio – on tour in April. first appeared on UK Jazz News.

Simon Spillett has long been recognised as the keeper of the Tubby Hayes flame. His life, his work and his legacy may well be residing only in the distant memories of those that were there were it not for Spillett’s tireless efforts to remind the jazz public of his immense contribution to British jazz.

The story of how a pile of dog-eared, yellowing manuscript was ultimately rescued and restored after 50 years is fascinating in itself. The mere fact that these wonderful charts weren’t, at some point along the line, thrown in the bin is a minor miracle! Let’s not think about that. Instead let’s concentrate on this heroic feat of musical archeology.

Spillett’s enthusiasm for Tubby’s work led to him being sent, over the years, all manner of Hayes-related artefacts, information, lost recordings and, eventually, lost big band charts. Enough, as it turned out, to record a full albums-worth of material separate to that found on Tubby’s two recorded large ensemble outings Tubbs Tours and 100% Proof.

Enter Mark Nightingale who not only takes his place in the trombone section but also assumed the Dr Frankenstein role of bringing the scores to life. There were missing parts to consider, various copyist errors and the small matter of the poor quality of the original paper after having languished in a dark corner for so many years. One can only imagine the “it’s alive” moment as the band played the opening bars of the first chart at the first rehearsal.

Enter Pete Cater, ace drummer and bandleader in his own right. Also a permanent member of Simon Spillett’s quartet, Cater’s passion for the project has found him wearing several hats at once – producer, executive producer, record company boss as well as percussionist!

Sixteen of Britain’s finest section players, soloists, bandleaders and arrangers make up the Simon Spillett Big Band. It’s as it should be. Tubby’s band was an equally all-star outfit.

This is not an album that features a solitary star soloist (Spillett) endlessly blowing over a series of brass and reed backing figures. Solo’s are distributed equally and skilfully among the band personnel with Spillett featuring himself on just two of the twelve tracks choosing, instead, to fill the role of conductor and catalyst.

From start to finish the whole album crackles with an infectious energy. The reed passages, at times intricate and snakelike, are delivered flawlessly. The brass offer knockout punches with expert precision one minute and beautifully gentle melodic lines the next. The rhythm section swings relentlessly accenting the brass, at times, for even more impact. Each soloist positively shines. This band sounds like a happy band! The feeling of camaraderie and mutual respect is plainly evident on each and every track.

The music itself manages to sound contemporary and yet ‘of its time’, and in equal measure. Post Swing-era the big band was presented with a challenge and an opportunity. The challenge was to stay as a relevant and vibrant art form outside of the dancehalls that had created it in the first place. The opportunity was to see, free of the shackles of commercialism, how the recent developments in small group jazz could be incorporated into the large ensemble. Many established bandleaders that had enjoyed enormous success during the 1940’s fell into obscurity; left behind by a new generation that grabbed the big band from the brink and reinvented it. Twenty years later the original Tubby Hayes big band began performing these arrangements. Over fifty years later, Spillett and his crew resurrect them; breathing new life into them. There’s something in this story that connects all the dots, completes a chapter in British jazz history and, hopefully, opens up a new one.

Dear Tubby H reminds us of how so many great jazz musicians revelled in a big band setting. None less so than Tubby Hayes himself. Simon Spillett and his orchestra have created something way beyond a tribute or homage to Tubby. It serves more as a love letter to the continuing vibrancy of great big band jazz as much as it honours Hayes himself. It’s an album that is beautifully played and beautifully recorded by all involved; one which deserves to sit proudly on the record shelves of any discerning jazz lover.

Personnel:

Simon Spillett – musical director and tenor saxophone

Sammy Mayne – alto saxophone/flute
Pete Long – alto saxophone/flute
Alex Garnett – tenor saxophone/clarinet
Simon Allen – tenor saxophone/clarinet
Alan Barnes – baritone saxophone/bass clarinet

Nathan Bray – trumpet/flugelhorn
George Hogg – trumpet/flugelhorn
Freddie Gavita – trumpet/flugelhorn
Steve Fishwick – trumpet/flugelhorn

Jon Stokes – trombone
Mark Nightingale – trombone
Ian Bateman – trombone
Pete North – trombone

Rob Barron – piano
Alec Dankworth – bass
Pete Cater – drums

The post Simon Spillett Big Band – ‘Dear Tubby H’ first appeared on UK Jazz News.

The ‘force of nature’ that is Nigel Price will, by the time this is published, be several dates into another of his mammoth annual UK tours. This time, no fewer than forty-three dates make up the itinerary which started on Sept 9th and winds up on Dec 8th. Along the way, the touring outfit will visit every nook and cranny of the British Isles from Brighton to Glasgow, from St Ives to Edinburgh

His regular group of Ross Stanley (organ) and Joel Barford (drums) make up the bulk of the dates with others finding the likes of Winston Clifford (drums), Libor Smoldas (guitar), Laura Klain (drums), Liam Dunachie (piano), Jim Watson (organ), Darren Beckett (drums), Vasilis Xenopoulos (saxophone), Ashley John Long (bass) and the Tom Ball Trio filling in along the way.

Nine dates between Oct 13th and 21st offer an intriguing prospect, however, when Nigel will be joined by Canadian guitarist Lorne Lofsky.

Lofsky is part of a line of incredible jazz guitarists from Canada; a line that includes Ed Bickert and Lenny Breau. He was a member of Oscar Peterson’s group in the 1990’s recording three albums with Peterson during his tenure. He has toured and recorded with the likes of Clark Terry, Rosemary Clooney, Johnny Hartman, Dizzy Gillespie and Ruby Braff. Lorne has also taught jazz at York University and Humber College in Toronto since the late 1970’s as well as a busy private teaching practice and several years educating the next generation at the University of Toronto.

With a teaching and performing schedule such as his, visits to our shores are rare and highly anticipated.

As for Nigel Price, surely little introduction is needed. A tireless performer and staunch advocate for the preservation and development of the UK jazz scene Price may well soon inherit James Brown’s title as the ‘hardest working man in show business’.

It would be hard to think of two jazz guitarists with more contrasting approaches to their instruments than Nigel Price and Lorne Lofsky. Price revels in a bebop driven world laced with blues that has its roots in Wes Montgomery, Joe Pass and Kenny Burrell. Lofsky, on the other hand, plays fingerstyle which gives his playing a more pianistic quality. If one imagines what Bill Evans would sound like on guitar, he would probably sound something like Lorne Lofsky.

For these dates, Price and Lofsky will be supported by Ashley John Long and Winston Clifford, the Hammond organ takes a break for these gigs; a wise choice with the two guitarists providing more than enough harmony.

Ashley John Long truly has to be heard to be believed. A bona fide virtuoso bassist and a stunning improvisor with a dexterity to rival any frontline instrumentalist.

As for Winston Clifford, a quick glance at his CV is enough to remind us that he remains at the very top of his game.

What a fantastic quartet this promises to be but, this is not a series of dates designed merely to attract a slew of drooling guitar players – although there will surely be plenty of those in attendance. High quality jazz will always elevate itself beyond any instrument-specific boundaries.

There is always a danger that a frontline consisting of the same instrument, such as this one, can result in one cancelling the other out. Often the two soloists will have graduated from the same school of thought. Not so in this case. Price’s choice to duet with Lorne Lofsky is a brilliant and tantalising one. Each has their own sound, style and concept that, whilst seemingly polar opposite, promises to be highly complimentary. The result is that gig-goers will have the rare opportunity to hear their choice of tune explored via divergent paths. Educational as well as entertaining!

The Lorne Lofsky leg of the tour takes in The Crypt, Camberwell (13th) Ashburton Arts Centre (14th) CICC Taunton (15th) North Devon Jazz Club, Appledore (16th) St Ives Jazz Club (17th) Bristol Music Club (18th) Cubanos, Barry (19th) 1000 Trades, Birmingham (20th) and The Hive, Shrewsbury (21st)

For full details of Nigel Price’s 2023 Tour schedule visit www.nigethejazzer.com

The Nigel Price Organ Trio’s new album That’s It. Right There is due for release on 20 October.

The post Nigel Price (tour dates with Lorne Lofsky – 13-21 Oct. + new album) first appeared on UK Jazz News.

For touring musicians, so much of this movie will resonate. The intense bond that develops between touring partners, the fun times, logistical issues, the loneliness that can come from the seemingly endless travelling and, of course, the music.

For fans of John Scofield it’s a reminder of what makes him a truly unique and vitally important musician; one who’s sole aim is to exchange ideas with other musicians and share those ideas with an audience.

Along the way we hear from many of John’s longtime friends and associates including Joe Lovano, Steve Swallow, Jon Cleary, Bill Evans and Dave Holland as well as fellow guitarists Mike Stern, Pat Metheny and Bill Frisell. The scenes with Lovano are especially touching as the two old friends chat and reminisce in a local café. Metheny’s comment that “there’s a truth in his playing” couldn’t sum up Scofield better.

All this is interspersed with footage of John’s quartet on trains, in cars, at rehearsal, soundcheck and in performance and, what a quartet! Bill Stewart (drums), Gerald Clayton (keys) and Vicente Archer (bass) represent yet another example of just what a great and generous bandleader Scofield is and always has been. That rare ability to surround himself with musicians that allow him complete freedom of expression whilst, at the same time, being a true band with each getting ample space to shine in their own right. As he says “It’s my band but, once we start to play, I’m just another member of the band.”

Scofield’s approach to bandleading reminds one of his former boss Miles Davis who consistently found new ways to frame his trumpet with handpicked combinations of musicians that kept him energised and inspired. Scofield has always done the same with that happy by-product of introducing new and exciting young jazz musicians to a wider audience.

John narrates the movie with the style and pace of an old sage around a campfire. He talks about everything from his early inspirations to the trials and tribulations of maintaining a 40-year career in a fast-changing world. He talks philosophically of music and his lifelong relationship with it. He talks of how Covid impacted him and those around him. He talks openly and honestly, just as he does when he plays his guitar.

He sounds animated when talking about his new quartet and he sounds sad when talking about the fact that many of the clubs he grew up in no longer exist. He’s keen to namecheck and give the spotlight to those around him that help and support him while on tour. One gets to end feeling as though they’ve had a private conversation with him in a quiet after hours bar.

The most striking element, however, is found in the musical passages which prove, yet again, that this 70-year-old Road Dog is playing better than ever. The John Scofield of today seems, more than ever, clearly and completely comfortable with his musical voice. A voice developed over many years that now displays a truly masterful quality. Those sinewy, snakelike post-bop lines laced with blues and full of surprise make Scofield one of the most instantly recognisable jazz voices in history. Inside Scofield is a vital addition to his story and an important document for those of us that want to get to know the maestro a little better.

Public screenings are currently planned for Dortmund (German premiere)and Portland, Oregon. DETAILS.

The post ‘Inside Scofield’ (film by Joerg Steineck) first appeared on UK Jazz News.

Wynton Marsalis said that Louis Armstrong’s solo’s weren’t particularly difficult to understand in musical terms but were virtually impossible to replicate due to their emotional intent alongside their subtle rhythmic variations which make them incredibly problematic to transcribe and notate. Without the modern toolbox of harmonic devices to exploit a musician is left only with the melodic line, their ability to tweak a song rhythmically and, hopefully, a level of emotional openness to connect their statement with the listener. Few have truly succeeded. The aforementioned Armstrong, altoist Johnny Hodges and guitarist Grant Green (1935-1979) are three that immediately spring to mind.

Green’s son, Grant Green Jr (b.1955), has recently released an album Thank You Mr. Bacharach on ZMI Records that, despite the stylistic differences, illustrates the true beauty of melody-driven jazz in the same way that Coltrane’s Ballads album did way back in 1963.

Green Jr, like his father, is a fine guitarist. Combined with the timeless melodies of Burt Bacharach, he has produced an album that places the pursuit of melodic truth above that of jazz ‘chops’. Not to suggest that ‘chops’ are missing or lacking; the album is laden with great solos but, and here is the magic, they never disrespect the song and are present only to serve it!

Bacharach’s music has long been interpreted by jazz musicians offering, as it does, a level of melodic attractiveness that places his songs firmly in the lineage of those that compiled the Great American Songbook. Six of his most enduring tunes are present here with The Look Of Love, Anyone Who Had A Heart, Walk On By, Here I Go Again, Wives And Lovers and I’ll Never Fall In Love Again making up the programme of the album.

Green approaches each with tenderness as though handling a delicate object. His father, despite never wanting young Grant to become a musician, would approve – as no doubt would Mr Bacharach himself. Respect for the melody radiates from each and every track.

One is reminded often of those late 1960’s Wes Montgomery albums where the master improvisor proved what a master melodist he was. Those records, regularly dismissed at the time as overly commercial, are finally being reassessed and about time too. Yes, they don’t offer the extended solo space of his earlier works but they more than make up for that with their sheer warmth alongside Wes’ extraordinary ability to play a tune and really mean it!

Green Jr does the same whilst also offering subtle twists in groove and approach to decorate these iconic pop melodies. It’s always going to be great jazz if it has the right rhythmic elements, enhancing the melodic line. According to Dizzy Gillespie, rhythmic impulse should be the primary concern. Diz added notes to the rhythms he felt; not the other way round. Green Jr, along with his stellar team of musicians stick to Dizzy’s philosophy throughout the record whether they were aware of it or not. It provides the album with solid grounding like a strong glue holding everything together.

It’s going to be awfully hard for Grant Green Jr to avoid comparisons to his legendary father especially as, at times, he sounds very much like him! But, why shouldn’t he display that influence? After all, thousands of unrelated jazz guitarists have taken from Grant Green Sr, he was that great! He was an artist that presented his music to people as though it were a personal gift and that is a rare gift in itself. George Benson once said that it was important to him to make his audience feel that he was playing for them, not for himself. Green Sr also did that, and Green Jr follows the exact same path.

Finally released in July this year, Thank You Mr. Bacharach is another of those projects delayed by the Covid pandemic. Recording commenced back in 2019 before being stopped in its tracks for the next two years. What was originally intended as an independent release was eventually signed to ZMI Records when producers Martin Kearns and Cabral Simmons played some tracks to ZMI’s Chad Hagan. It has been worth the wait.

So many jazz musicians these days would be afraid to make an album like this where the song is given precedence and the musicians play to serve and honour it. For that, Grant Green Jr and his group deserve recognition and praise. Thank you Mr Bacharach and Thank you too, Mr Grant Green Jr.

The post Grant Green Jr – new album ‘Thank You Mr. Bacharach’ first appeared on UK Jazz News.

It’s a period often derided by critics and musicians alike but, the fact remains, it kept musicians in work and, more importantly, honoured the tradition of Jazz artists taking popular themes and reworking them; a tradition that went back to the 1920’s.

Enter pianist Joe Webb, a young virtuoso who’s playing has been causing proverbial jaws to drop for a while now either through his work with the Kansas Smitty’s ensemble or his own Webb City, a trio that honours such greats as Art Tatum, Oscar Peterson and Nat ‘King’ Cole.

Summer Chill, his new project, is an unapologetic nod back to those 60’s pop-jazz days and, as he states, is presented as a “soundtrack to a 1960’s pool party”. The group consists of Webb himself on piano and organ alongside guitarist Alex Haines, bassist Will Sach, drummer Jas Kayser, percussionist João Caetano and saxophonist Fraser Smith.

The sextet play with a joyful abandon that one wishes there was more of in the jazz of today. The music is fun, uplifting and flawlessly played harking back to the days when jazz was played for dancers; purely for entertainment.

A Bourbon Street-inspired “You Are My Sunshine”, for example, would make Dr. John very happy. The funk-latin interpretation of “Comin’ Home Baby” presented here doesn’t miss the famous Mel Tormé vocal; the same goes for Georgie Fame’s “Yeah Yeah”. The conga-driven swing on Basie’s “Corner Pocket” reminds one of those great club recordings from the Village Vanguard or Blue Note with only the clinking of glasses and gentle murmur missing to make the scene complete. The Clovers R&B classic “One Mint Julep” has the band sounding as though they’re on the film set of Our Man Flint with Fraser Smith channeling Plas Johnson beautifully.

Joe Zawinul’s “Money In The Pocket”, written whilst a member of Cannonball Adderley’s quintet, sticks fairly faithfully to its original Boogaloo concept; Haines and Caetano, in the spotlight, taking extended solos.

The albums closing track “Can’t Help Falling In Love”, first heard in the Elvis Presley movie Blue Hawaii, gets the gospel treatment here with Joe Webb duetting with himself on piano and Hammond organ; a tranquil way to end after the previous nine rollicking tunes.

Summer Chill definitely has its place on today’s jazz scene. Times reviewer Clive Davis said nearly ten years ago, when reviewing New Orleans vocalist Lillian Boutté at Ronnie Scott’s, that her style of entertainment was out of fashion but musicians would do well to listen and learn. He went on to say that, if jazz was to hold on to its audience, “abstruse chords” wouldn’t be enough!

Joe Webb and Summer Chill will be launching their new album at the 100 Club in London on 1 August. Put on a loud shirt and some flares and get yourselves down there!

Summer Chill is released on 24 June.

The post Joe Webb – ‘Summer Chill’ first appeared on UK Jazz News.

This, John Scofield’s first without a band, represents a new take in the canon although, strictly speaking, it’s more of a duets-with-self album, for the most part, with John employing a looper pedal or overdubbing himself over a pre-recorded chord backing. 

In typical Scofield fashion, the repertoire is a reflection of his love of everything from blues, rock n roll and jazz standards alongside a healthy dose of his own compositions. What ties together a tracklist that includes Harry Warren’s There Will Never be Another You with Buddy Holly’s Not Fade Away; Jimmy Van Huesen’s It Could Happen To You with Hank Williams’ You Win Again is Scofield’s truly unique way of approaching melody and improvisation. It’s an approach that magically crosses genres and sits comfortably regardless of the material. It’s an approach that makes John Scofield one of a handful of artists in jazz history whose playing can be recognised after a single phrase.

Being a true ‘road warrior’ and, traditionally, a collaborative artist, this album was clearly inspired (if that’s the right word) by the isolation that musicians endured during the Covid lockdowns and one wonders if this recording would have been made had there been no pandemic. One can imagine Scofield, at home, with a slew of cancelled dates to mull over, quietly working his way through whatever tune came into his head that day until these thirteen tracks were decided upon. The end result makes the listener feel as though they’re a fly-on-the-wall eavesdropping on a private moment as John figures his way through each piece. 

One potential pitfall of the solo album is that they can often sound over-composed and suffer from a lack of spontaneity along with a dynamic ‘flatline’ that a listener could find monotonous. With John Scofield, however, this is certainly not the case. Yes, this is an intimate and, at times, introspective album, but Scofield has an innate ability to sustain interest to the point where one ends up wishing for just one more song from the master!

This, for me, is due to his ability to always keep the listener guessing. You may think you know what’s coming but, when it arrives, you wonder how! His patent edge-of-the-seat bluesy, angular be-bop; his way of finding chord tones that others don’t think of; his way of exploring a melody to its fullest and his way of truly offering us a part of himself through his music encompasses that ‘sound of surprise’ element that separates good jazz from great.

Whilst Scofield clearly thrives in the company of others, this album is an important and frankly beautiful addition to his discography. It offers us a rare glimpse into a more private side of his musical personality and one is left with the impression that he has selected these songs just for you. Ultimately, it serves as a reminder that, despite the hardships of the last two years, life, and music, will prevail and John Scofield will be there to give us a little more of that magical guitar.

The post John Scofield – ‘Solo’ first appeared on UK Jazz News.

(A good retrospective of Luis Russell’s work can be found on a Retrieval Records –  RTR79023 – compilation ‘The Luis Russell Story 1929-1934’ which covers the period before Armstrong’s tenure).

Catherine herself has already enjoyed a fruitful career, stretching back to the early 1990’s, as a backing vocalist for many big pop/rock names such as Donald Fagen, David Bowie and Madonna although she eventually quit to pursue a solo career as a jazz vocalist so she wouldn’t have to “compete with electric guitars”; preferring, instead, to work in acoustic settings.

As the daughter of jazz royalty and, if ever pedigree counted for anything, it’s in evidence on this 13-track album, Russell’s eighth as leader, recorded in the summer of 2021. Russell’s effortless, warm and soulful delivery permeates each and every track, all personally selected by Russell, all songs that have “inspired or touched me in some way”.

The musicians accompanying Catherine are a veritable who’s-who of New York’s vibrant classic jazz and swing scene’s who are so steeped in the pre-bop jazz tradition that one often has to remind oneself that this recording is from last year and not from the 1930’s or early 40’s! 

It’s the highest compliment that these musicians (listed below) play with an almost staggering authenticity especially in an age where ‘modern’ style and influence could easily have ‘corrupted’ these recordings.

Russell betrays little of her pop background in her vocal delivery adhering, instead, to her mighty jazz lineage although, of course, it’s worth remembering that jazz of this time, and type, was the pop music of the day.

Featured are bona-fide American Songbook classics such as East Of The Sun, You Stepped Out Of A Dream and If I Could Be With You alongside such lesser known jazz/R&B crossover tunes as You Can Fly High, In The Night and the title track Send For Me which was a huge hit for Nat ‘King’ Cole in 1957 and, as Catherine notes, stands as proof of what a great blues singer Cole could be.

Send For Me, the album, is a fine collection of love songs performed flawlessly by Russell in a variety of styles and settings from ballad to swing, from New Orleans to Chicago all the way up to the R&B and proto-Rock n Roll of the late 1940’s and early 50’s. In Russell’s own words , the music is best described as “romance that swings”.

It’s an album brimming with fine soloists, swinging arrangements and sublime vocals and, if Catherine Russell and her band ever make it over to the UK, be sure to buy a ticket and remind yourself that jazz, played this way, is as viable and accessible as any pop music yet still requires a certain level of virtuosity that jazz listeners would expect to hear.

BAND: Catherine Russell – vocals, percussion

Matt Munisteri – guitar, banjo, musical director, Tal Ronen – bass, Mark McLean – drums, Mark Shane – piano, Sean Mason – piano.

Jon-Erik Kellso – trumpet, John Allred – trombone, Evan Arntzen – reeds, Paul Nedzela – baritone saxophone, Mark Lopeman – tenor saxophone, Aaron Heick – tenor saxophone, Philip Norris – tuba.

The post Catherine Russell – ‘Send for Me’ first appeared on UK Jazz News.

Drawing on their combined influences of Jelly Roll, Sidney Bechet, Barney Bigard, Art Tatum and other early masters, Cox and Webb have produced an album that sums up Morton’s requirements perfectly.

With the emphasis firmly on a melodic path, the duo demonstrate a sense of connection and sensitivity that, at times, makes the listener feel as though they’re eavesdropping on a private conversation – but without that sense of exclusivity that can sometimes plague jazz.

Indeed, this is music crafted purely for the listener, the way it was in those early days from the 1920s through the 40s, and it’s an approach that will satisfy jazz lovers as much as it will those that consider themselves not to be. Despite their obvious virtuosity, Cox and Webb are careful not to alienate but to include the consumer; a very refreshing thing in this day and age of introverted and introspective music.

Alongside staples from the Great American Songbook such as Night & Day, Besame Mucho, Running Wild and Old Fashioned Love there are less-often heard pieces with Jelly Roll Morton’s New Orleans Bump, Sidney Bechet’s Si Tu Vois Ma Mère, Barney Bigard’s beautiful Lull At Dawn and Jaki Byard’s Dedicated To Bob Vatel Of The Ten Gallons worthy of special mention. The title track is, as one might assume, a reworking of Joni Mitchell’s Both Sides Now which Cox and Webb have turned into a semi-rhapsodic ballad; Webb’s rolling piano chords underpinning Cox’s respectful reading of the melody. It’s an interpretation that doesn’t require an improvised solo and, thankfully, it doesn’t get one here as Cox succeeds in letting the melody alone have the spotlight.

Adrian Cox is clearly demonstrating his devotion to the great New Orleans clarinet tradition throughout these ten tracks. It’s his dedication to continuing this important lineage that caught the ear of Wynton Marsalis who has, twice now, invited him to perform with the Jazz at Lincoln Center Orchestra. It’s hard to think of anyone playing this style of clarinet so honestly and authentically in the 21st Century apart from Evan Christopher from New Orleans itself. Cox reminds us that the clarinet is a true ‘specialist’ instrument and not, as is often the case nowadays, an occasional ‘double’ for saxophonists.

Joe Webb is firmly in the ‘rising star’ category. A graduate of the Welsh College and probably best known for his involvement in the Kansas Smitty’s organisation, Webb seems ripe now to assert himself as a prominent soloist. Recently described by David Newton as “extraordinary”, Webb’s assimilation of the early ‘stride’ piano stylings of Jelly Roll Morton and James P Johnson coupled with his Tatum-esque technique have to be heard to be believed!

As a duo, these two have an almost telepathic understanding. The dynamic interplay heard on this album is that often missed ingredient that distinguishes the good from the truly special. It’s clear these two have spent a lot of time together playing and discussing their music; the result of which is an intimate and very beautiful experience for the listener. It’s sometimes a shame that virtuosity is often presented in tandem with seriousness. With Adrian Cox and Joe Webb you get virtuosity with a smile; just as those old masters from the early days would have liked!

The post Adrian Cox and Joe Webb – ‘Both Sides Now’ first appeared on UK Jazz News.