The Simcock/Rawicz programme consisted largely of original pieces by the performers. Sometimes this approach can run the risk of personalising the repertoire too much for uninitiated jazz audiences, but here we had a collection which explored such a wide variety of idioms, colours and tempi that the listener was presented with an almost suite-like journey rolling the several pieces into one.

The only exception was Simcock’s arrangement of Stevie Wonder’s Visions (from the 1973 Innervisions LP). It resonated heroically, with Rawicz imparting liquid lyricism and real depth of passion in her delivery. Visions is arguably Wonder’s greatest song – deeply moving with its perfect marriage of melody and harmony throughout. Rawicz negotiated through the wide melodic parameters and shape of Visions eloquently and seamlessly, while Simcock’s solo countered effectively, offering the listener a more spare and spacious quality resulting in a reflective glance to put things in perspective.

The duo’s opening number, Simcock’s His Great Adventure (for his 3 year old son), got things off brightly with its uptempo propulsive adventurousness, and each soloist gleefully chasing the other with fervent abandon. Four hands at their best. Similarly, Rawicz’s The Drumbledrone (North Devon parlance for “Bumblebee”) was exciting, with Simcock’s predilections for diving off into unexpected side roads and byways, while the saxist’s steadfast presence and musings kept visions of the apiary constantly in sight. The 80-minute set concluded with Simcock’s Optimum Friction, a bluesy rhythmic stomp affair replete with engaging chromatic chordal sequences that brought out Rawicz’s rollicking “gutbucket” side, clearly raising the roof of the venue on a high bright note.

As always, big plaudits to the organizers of the festival, Jez Murphy, Emma Holcroft and Cliff Ray, and the fine and well appointed ballroom of the Grand Hotel in downtown Southport. Here’s to many more SJFs in the future.

Frank Griffith is a Liverpool-based saxophonist and arranger. His trio will be appearing at the Nantwich Blues and Jazz Festival on 21 April at 6-8PM.

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Alastair discovered jazz via the Voice of America Jazz Hour, hosted by Willis Conover and broadcast from Frankfurt by The American Forces Network in the early 1950s. He launched Hep Records while teaching art at Portobello High School in Edinburgh’s coastal suburb. The label’s first release was an LP by The Boyd Raeburn Band, an innovative NYC ensemble from the mid-1940s, and Alastair would go on to issue a substantial output over three categories: The Metronome, the 1000 and the 2000 Series. 

Metronome featured reissues of classic works by musicians including Buddy Defranco, Benny Goodman, Artie Shaw, Claude Thornhill, Alec Wilder, David Allyn, and the Dorsey Brothers. Similarly, the 1000 Series would include many of the black big bands from as far back as the 1920s, including Fletcher Henderson, Don Redman, Bennie Moten, and Chick Webb as well as the small groups of Slim Gaillard, Roy Eldridge, Teddy Wilson, Stuff Smith, and Coleman Hawkins.

Alastair’s unique and possibly most remarkable contribution to jazz, however, was his 2000 Series, which commissioned studio recordings from living artists from the US and the UK. The British contingent included trumpeter Jimmy Deuchar, pianist Eddie Thompson, saxophonists Bobby Wellins, Tony Coe and Joe Temperley, guitarist Jim Mullen, and singer Tina May and the many Americans included saxophonists Don Lanphere, Spike Robinson and Frank Griffith, guitarist John Hart and pianist Dan Nimmer.

Hep’s final CD was recorded in June 2024 and is still awaiting release. Referred to by Alastair as “The Last Hurrah”, it features a tentet celebrating Scottish musicians and Scots-themed pieces. Among the stellar ensemble are guitarist Malcolm Macfarlane, trombonist Gordon Campbell, pianist Dave Milligan, drummer Tom Gordon, saxophonist Konrad Wiszniewski and bassist Ewan Hastie. I had the privilege of leading and organising the session as well as contributing five pieces along with English trombonist/arranger Adrian Fry, who wrote three pieces and conducted.

Trumpeter and author Digby Fairweather said: “Alastair was a man of the highest integrity whose many reissues on Hep were of outstanding quality and unfailing integrity in terms of both production and production issues. His catalogue remains one of the finest in LP/CD formats, a lasting contribution to the world of jazz discography. He was also a hugely informed celebrant of the finest, and sometimes the more obscure or under-celebrated areas of jazz, and an extremely important figure in British jazz history. We shall not see his like again.”

Alastair didn’t court publicity and wasn’t a schmoozer in the public arena. He could be a bit gruff and didn’t suffer fools gladly. He and I had plenty of, let’s say, animated exchanges in our twenty-five years of working together, but he’ll be remembered for his total and consistent perseverance in producing more than three hundred recordings. Rest in peace, Alastair. You and HEP Records will be remembered and treasured into eternity.

Alastair Robertson, born March 3, 1941, in Aberdeen; died October 23, 2024, in Perth.

Frank Griffith is a Liverpool based saxophonist and arranger. His weekly radio show, The Jazz Cavern airs on www.purejazzradio.com

The post A Tribute to Alastair Robertson first appeared on UK Jazz News.

There are several “Great American Songbook” chestnuts (a term that  I’m not overly keen on as there are so many equally worthy songs penned by European and South American composers). Speak Low also boasts an Edith Piaf song originally written in French (Hymne a L’ Amour/ If You Love Me) as well as the Hatch/Trent gem Don’t Sleep In The Subway.

Of particular note, the Youmans/Caesar classic Tea For Two  arranged by the late Robert Cornford  sung  at a much slower tempo and underpinned with a lush harmonical sequence scores highly. Producing a melancholic and ruminative quality yet retaining a ray of hope in the end. Similarly, the Piaf melody is given a renewed treatment in duet with her longstanding guitarist, Jim Mullen.

The other members of the trio, pianist, Barry Green and Simon Thorpe on bass, go to great lengths in  supporting Ms Delmar throughout while fully expressing their original “voices” as well. This is particularly the case on Close Your Eyes- a lively duet with Thorpe’s rich, low bass notes resonating with Delmar’s hypnotising, slightly smirking delivery. Not to be left out, flautist Andy Panayi emerges in a cameo role with a swinging and full-toned foray on the title  song. This Kurt Weill warhorse (from One Touch of Venus) has been covered extensively by many a jazzer, of course.

The passing of time has seen Delmar’s voice settle into a mellow conviction bringing out a poignancy to the human condition. One that is present in each of the eight titles therein.

Speak Low shouts high from the rooftops in this latest collection from the exemplary work of Elaine Delmar.

Frank Griffith is a saxophonist and arranger based in Liverpool. He will appearing with The Alex Hutton Trio at the Norden Farm Arts Centre in Maidenhead on 11 October. www.frankgriffith.co.uk

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Her fine band included pianist, Liam Butler Webb, bassist, Dan Barreto, the guitar of Jack Lewis and Jamal Campbell’s drums. The mellifluous trumpet and flugelhorn of Martin Smith provided a foil-cum-alternate and supporting “voice” to Maxine’s emotive interpretations of this rich and time-honoured collection of song-lore of the 1930s-50s.

The excellent arrangements were done by Liverpool pianist/vocalist, songwriter and arranger Max O’Hara, and many of them have more contemporary beats and feels as well alternative harmonies, which never detract from the original pathos of the songs.

The choices and lengths of the numbers clearly kept the focus on the singer throughout. While there were frequent solos interspersed, none of them exceeded eight bars or so, thus enabling the listener to sustain their eye and ear on the matter at hand. The lyrics and soul of Lady Day prevailed unbroken from start to finish.

Particular highlights for this listener was Irving Berlin’s 1925 classic, Remember, rebottled with an ”Islandey” two beat feel that underpinned Maxine’s sassy and swaggery delivery effectively. Similarly, Blue Moon, the Rodgers and Hart 1934 classic scored highly which, while quite a departure from the original still conveyed its cheerfully melancholic sentiment in the end.

A particularly poignant experience was Ni’s duet with pianist, Liam Butler Webb of Strange Fruit, a haunting and disturbing allegory composed by Abel Meerpool that was premiered by Holiday at NYC’s Café Society in 1939. At the completion of the song, the house lights dimmed to darkness while the singer stayed in character for a moment before the interval commenced. a fitting tribute to the legacy of Lady Day and her music.

Frank Griffith is a Liverpool-based saxophonist and arranger. His weekly radio show, THE JAZZ CAVERN, airs on PureJazz Radio

The post Ni Maxine in Liverpool first appeared on UK Jazz News.

The opening track, Harold Arlen’s 1924 classic, Ill Wind get matters off in grand fashion with a laid back yet poignant bathos saluting this classic era of American song.

Two original pieces composed by John’s wife, pianist/singer Robin Meloy Goldsby add to the overall mood wonderfully. Otono emanates a sweeping and unfettered sonic presence while April Tango offers a playful dance between the two conspirators upholding the vivacity of the tango tradition.

Goldsby originals, Fall Calls and Swim For Your Life add variance and richness to the collection. Test’s solo on Fall Call is virtuostic imbued by his harmonic breadth along with his light-fingered melodic elegance. The final track, Swim for Your Life lightens the mood with its playful rompish nature. As Goldsby says: “Swim For Your Life reflects our short frolic on this planet. It’s up to us to take every moment and grab the love, beauty and swing all around us”.

Hear, hear to that. This recording exploits the duo’s far-reaching harmonies, coupled with profound melodies while fully honouring the jazz tradition. Swim for Your Life is fully afloat throughout while making waves at every juncture.

Saxist/arranger Frank Griffith, is based in Liverpool. His weekly radio show, The Jazz Cavern can be heard on Pure Jazz Radio

The post John Goldsby & Billy Test – ‘Swim for Your Life’ first appeared on UK Jazz News.

Dundee-born Scots trumpeter Jimmy Deuchar (1930-93) appears on no less than four tracks on Disc 1, including the Ronnie Scott-led Jazz Couriers on Irving Berlin’s “Cheek To Cheek”. There is also a welcome contribution from the lesser-known Kenny Graham and His Afro-Cubists of Graham’s “Monkey Business” which exemplifies their pivotal role in introducing this style to British audiences.

Sir John Dankworth’s big band pieces “Firth Of Fourth” and “Top Score” round out the large group end of things, featuring top improvisations from Kenny Baker, Danny Moss, Joe Harriott, Jimmy Skidmore and the leader.

Disc 2 – Jazz USA, offers a blinding array of jazz innovators including the soulful drawling cry of Mississippian Mose Allison on “New Ground”, Jimmy Giuffre’s “The Train And The River” with Jim Hall and Ralph Pena scores highly as well with its folky rusticity. Vocalist Lorez Alexandria’s poignant reading of Hoagy Carmichael’s “Baltimore Oriole” is more an allegorical spoken verse conveying a wistful, melancholic sentiment.

Plaudits to Nick Ducket of R n B Records for enabling this unique powderkeg of timeless sounds, and to Simon Spillett, who, with his rich and perceptive knowledge of this important and innovative year in jazz history, has written the excellent and informative liner note.

A varied yet well-knit document of modern jazz. Grab it sooner rather than later!

The post ‘Soho Scene ’57 (Jazz Goes Mod)’ first appeared on UK Jazz News.

Top British guitarist Nigel Price and his trio unleashed a burning two sets at District, a new venue in the Baltic Triangle in Liverpool. The large, high ceilinged space was bathed in technicolour and streaked with haze, an ambience that served what the trio had on tap: a mix of Wes Montgomery tunes, popular jazz standards and a clutch of uptempo originals by the leader.

The driving and unrelenting rhythmic power of the organ trio is like no other: high on pedals, picks and sticks, each member has an equal helping of rhythmic influence. While a horn player or vocalist can play rhythmically, they can’t match the sheer percussive might of the organ trio format.

The first set opened with Wet And Dry, a contrafact tune of Nigel’s based on Come Rain Or Come Shine. Price’s solo bore a nod to Wes with his apposite and colourful chords over a relaxed, loping tempo.

A tune by Price dedicated to organist Shirley Scott, Hey Shirley is a jauntily medium modal waltz, and it brought organist Ross Stanley to the fore with his stunning solo exploring the upper reaches of the harmonies. His winding circular bass lines, unfettered by his right hand melodicisms, were impressive to say the least.

Napoli-born Italian drummer, Laura Klain, looked poised and cool while providing a steady and driving pulse. She was also featured in solo spots trading eights and fours with the others on Falling In Love With Love and Price’s Booze Blues, interchanges which never broke stride with the underlying groove.

This is a wonderfully tight-knit band, and if you like swinging, clean-toned guitar with nods to Wes, Benson and Kenny Burrell, the Nigel Price Trio is for you. Plaudits must also go to Geni Lamb and the good offices of Parrjazz, a Liverpool organisation that promoted this event so well.

Frank Griffith is a Liverpool based saxophonist, arranger and educator. His monthly radio show, The Jazz Cavern, can be heard on Liverpool Community Radio (www.l-c-r.co.uk) on Tuesdays at 3-5PM.

The post Nigel Price Trio at District, Liverpool first appeared on UK Jazz News.

The CD opens with “MDM”, a 20-minute blues which is an amalgamation of Monk’s “Straight No Chaser” and Ellington’s “Mainstem”. We hear full-throated solos by Eric Dolphy, Booker Ervin, Charles McPherson, Jimmy Knepper, Britt Woodman, Ted Curson and Lonnie Hilyer, all of whom sparkle throughout, sustaining this lengthy track with their verve and forward motion.

This is followed by a 13-minute treatment of “Stormy Weather, Dolphy’s alto can be heard to great effect embracing a balladic lyricism, hardly a quality one normally associates with Dolphy, say, on his own recordings as leader, or those with John Coltrane’s groups from the mid 1960s.

Another blues, “Lock Em Up”, incorporates Bird’s “Relaxin At Camarillo” (played by McPherson). The title presumably refers to Charlie Parker’s 6-month stay at the California State mental hospital in 1945 – or possibly Mingus’s own period of incarceration at the Bellevue psychiatric facility. Tenor saxist Booker Ervin takes the solo honours on this urgent and impassioned outing.

While recorded in a studio, Mingus decided to set a mood that might resemble a night club in hopes to capture the fierceness the musicians had been exploring on stage. “I finally realised that lots of jazz records don’t make it because the guys almost unsoundly cage their approach in a studio from what they do every night on the job,” said Mingus. Despite the raucous and lack of cohesiveness on the three tracks, there are many marvellous moments to treasure here. Don’t let the 40-minute playing time put you off. This is an important release.

The post Charles Mingus – ‘Mingus’ first appeared on UK Jazz News.

His recording debut kicked off auspiciously in 1998 with One Down for Blue Note. Many CDs would follow on iconic labels, Concord, Hepjazz and Steeplechase.

He has just released Resonance (2023) on Steeplechase, his fifth date for the legendary Danish label headed by Nils Winther. Labelmate, tenor saxophonist Rich Perry, joins him along with organist Brian Charette and longtime collaborator Steve Johns handling the percussion duties. The breadth and eclecticism of Resonance’s playlist is plainly evident from Hart’s illustrious recording pedigree. We hear a refreshing mix of five originals and four standards.

Fred Ahlert’s I’ll Get By lopes along effortlessly with Charette’s “first out of the blocks” solo- inspired by 1960s organists, Don Patterson and Jimmy Smith. Similarly, Fred Coots’ wartime torch ballad, For All We Know gets a seven minute trio treatment that steadily evokes the melancholic bathos of the song. Subtle, yet driven with a quiet and undying passion.

New Jersey based veteran NYC drummer, Steve Johns kicks off Hart’s Act Riot with an arresting intro setting up the excitement to follow on this uptempo blues. Johns’ trading phrases with the soloists brings about a Riotous Act to a climactic denouement.

Richard Rodgers’ Spring Is Here brings out Perry’s plaintive and vibrato less cry throughout his unique interpretation. Its medium Latinised feel scores effectively as a ballad that converts to a faster tempo. Perhaps due to its “long noted” melody ( a paucity of crotchets and quavers) enabling it to float freely over a variety of grooves.

Resonate resonates…and how. Mucho bravos to John Hart and his bandmates for providing jazz guitar fans with a refreshing and inspired offering which exhibits the time-honoured legacy of the instrument.

Frank Griffith is a Liverpool based saxophonist and arranger. His weekly radio show, THE JAZZ CAVERN broadcasts on www.purejazzradio.com

The post John Hart – ‘Resonance’ first appeared on UK Jazz News.

Carter’s title tune, sparkles particularly with its insistent second line beat laid down by drummer Luke Tomlinson. Harry Maund’s crispy and measured trombone gets the solo section off nicely. The leader’s fleet piano scores highly as well making this final track on the collection wrap things up with a bang.

Carter’s treatment of Neal Hefti’s “Girl Talk” is on the laid-back side, and much better for it. There is a good contrast here with the largely upbeat climate of the rest of the recording. It also shows the breadth of Carter’s skill in laying out the setting of this slightly kitschy 1960s classic. Paying homage, and yet dressing it up in more modern colours and textures.

Similarly, the inclusion of Gershwin’s “They Can’t Take That Away From Me” displays a crafted yet looser ambience of this 1937 gem sung by Fred Astaire in the film, Shall We Dance.

All the soloists acquit themselves with aplomb, with both Tom Smith’s alto sax and George Jefford’s trumpet in particularly good form throughout. If this were not enough, world class jazz flautist, Gareth Lockrane (who also teaches at RAM) cameos on three tunes adding plenty to the proceedings. He excels not only playing-wise (his outing on the title track is particularly gutsy and ferocious), but his undying and relentless supporting and guidance of young UK jazz talent should never go unnoticed.

With inspired solos amalgamated with colourful and distinctive pieces this is a most enjoyable new release to have emerged from the bedrock of new voices in UK Jazz in the third decade of the new millennium.

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