Who better to lead a conversation of this kind than Marsalis? As one of – if not the – leading advocates for the preservation and expansion of the traditional sound, he carries an unquestionable gravity in his music and his speech as an ambassador for the values specific to pre-bop ensemble playing. It’s a different kind of attitude, a different kind of swing, and when you hear it played at this level, and at close quarters, and with a completely full hall, it’s a different kind of feeling and experience altogether.

Distinguished reeds player Alan Barnes provided a soulful, lyrical presence in the dual role of clarinettist and alto saxophonist, his fluency and experience invaluable to the wonderfully balanced group sound. There are not many who would be able (or want) to pull off a solo after Wynton on Ray Noble’s ‘Cherokee’ at breakneck speed, but Barnes showed his class, effortlessly guiding the flowing harmony with burning, granular semiquaver lines and merging into swooping melodies that felt almost snatched out of the Gershwin songbook.

Bassist Will Sach and drummer Will Cleasby were the rock of the ensemble, swinging, locking in on all four beats, rooted, inventive. Their partnership was the reliable source of that good feeling, fertile for development but wholly grounded in their roles for this idiom, from the buoyant New Orleans groove of ‘Oh When the Saints’ to the set’s deepest slow swing of ‘St James’ Infirmary’ where Wynton delivered the lines in his own voice then took to the horn, as with ‘2:19 Blues’. Where these two young musicians really proved their musicality, however, was in their solos – nothing in excess and yet totally intriguing, and even when at the peak of intensity it remained measured and undoubtedly individual.

I was able to hear the band in rehearsal in the beautiful St John’s Church, across the road from the venue, I was immediately aware of the dynamic Wynton was promoting through every action; laughing, discussing, leaning in closer to exchange musical phrases – it was a conversation that he was engaged in, and to not engage in it would feel out of place. Of course, by the gig, it seemed as though they’d been playing together for years, not simply because of their abilities but, crucially, because the idea of feeling comfortable had been made the default position by their leader.

Trombonist and Musicians’ Company’s Young Jazz Musician 2021 winner, Dan Higham had a particularly daunting position as the youngest player in the ensemble. And yet, as soon as his strong, resonant tone projected into the Opera House, the tenderness of his quiet plunger playing and control of timbre dispelled all doubt. That side of his playing had clearly impressed Wynton; his confident up-tempo blowing and control in the upper register were also hugely impressive and affecting. His great rapport with Marsalis in rehearsal and in concert was truly enjoyable to watch and to hear.

Joe Webb’s virtuosic piano technique yielded extraordinary and beautiful moments – some of the best left hand stride this side of the pond and Ellingtonian flourishes injected with Messiaen harmony turned Wynton’s head on multiple occasions. The real highlight, though, was his ability to stretch out into the language of McCoy Tyner, Brad Meldhau and beyond without losing his connection to the spirit of the older melody. It made me reflect that, if you can make the new stuff swing like the old stuff… then you’re very clearly doing something right.

As for the leader himself, his sound remains a phenomenon which cannot be translated into recordings, as well-produced and as numerous as they may be. Now having heard him live for the very first time, I felt as though I had been let in on a secret: the real magic is only accessible through hearing metal vibrate and walls hum around you – it’s a reminder of the humanity that Louis Armstrong gave to the world, and of the astonishing depth and magnitude of which Wynton is capable. He and the work he does with musicians need to be seen and heard to be believed.

Wynton Marsalis – Trumpet
Alan Barnes – Saxophone / Clarinet
Dan Higham – Trombone
Joe Webb – Piano
Will Sach – Bass
Will Cleasby – Drums

Gabriel Taylor was the guest of BIF and his round up report of the festival’s jazz weekend will follow.

The post Wynton Marsalis at Buxton International Festival first appeared on UK Jazz News.

BAND LINE-UP FOR WYNTON MARSALIS

The line-up has been announced for festival headliner Wynton Marsalis‘s excellent British band for his headline show at Buxton Opera House on Monday 10 July:

Wynton Marsalis – Trumpet
Alan Barnes – Saxophones, Clarinet
Dan Higham – Trombone
Joe Webb – Piano
Will Sach – Bass
Will Cleasby – Drums

SELECTED CONCERTS (all at the Palace Hotel)

• Saturday 8 July: Trish Clowes and Ross Stanley will present a late night duo performance
• Sunday 9 July: The long-standing Northern Jazz Orchestra will perform an early afternoon show
• Monday 10 July: Tommy Smith and former Young Scottish Jazz Musician of the Year Peter Johnstone

FULL BUXTON INTERNATIONAL FESTIVAL JAZZ LINEUP:

• Dale Storr
• Charlotte Glasson Band
• Jamie Safir
• The Super Tramp Big Band
• Shez Raja
• Trish Clowes and Ross Stanley
• Northern Jazz Orchestra
• Tom Seals
• Gaz Hughes Trio
• Ni Maxine
• Tommy Smith and Peter Johnstone
• Wynton Marsalis
• Zoe Kyoti
• Julie Edwards and Kevin Dearden
• Geno Washington and The Ram Jam Band / Sad Café
• Madeline Bell with Ian Shaw
• Stevie Williams & the Most Wanted
• AMC Gospel Choir
• BIF Dance Band
• Graham Clark Quartet
• The Gwilym Simcock Quintet

The post Buxton Festival Jazz Weekend first appeared on UK Jazz News.

UKJazz News: What’s your history with Julian?

Gwilym Simcock: It’s a funny thing for me because the first jazz gig I ever went to was with Julian Joseph and his trio, up in Manchester at the Royal Northern College of Music. I must have been about 14 because I was training as a classical musician at Chetham’s School of Music and started getting into jazz around that time, and that was obviously an exciting moment in life to discover a new direction in music. I distinctly remember going to that concert – it was a fascinating experience to see musicians working together in the way that we do in our world, which of course is very different from going to see a pianist play Beethoven, or a string quartet. I’ve always felt an affinity to Julian because I suppose moments in your life like that stick out, don’t they?

UKJN: Have you played together before?

GS: We’ve crossed paths so many times over the last 20 years, mainly through his radio work, and we’ve always had a really good time but never actually played together because he would be presenting for the programme, and I would be performing. As pianists we’re often ships that pass in the night – you’re don’t really get to play with each other, and certainly not in a situation where there’s two nice pianos and a lovely environment like there is at Pizza Express. I’ve been lucky enough to present a number of these duos there over the years with people from all over the world, but it just occurred to me that it would be a great opportunity to play with Julian, especially as he’s not someone you can often see performing due to his many other commitments.

UKJN: What do you like about Julian’s playing?

GS: Well, he’s just a wonderful musician – he’s got such a wonderful line to the heritage of the music and a lovely touch on the instrument, and a great clarity about everything that he plays. We’ve exchanged some music over this last week and I’m really looking forward to seeing how things develop with the repertoire that we’ve chosen.

UKJN: What will you be playing?

GS: We’re going to play some of Julian’s tunes and arrangements, a couple of mine – with these shows it’s always nice to have a good variation of music for the audience to enjoy. You’ve got two pianos so it’s basically like having two orchestras, which is fantastic, so you want to create a range of textures and sonorities throughout the course of the concert. We’re definitely trying to choose a programme that goes into lots of different areas and has a bit of everything.

The post Julian Joseph and Gwilym Simcock at the PizzaExpress 2-Steinway Festival (Interview) first appeared on UK Jazz News.

This final, sold-out performance in London at Pizza Express Dean Street was a lesson in fluency and class, consistently finding beauty between the extremes and then knocking you flat with moments of precise intensity.

‘Fagen’ from the trio’s 2018 album Toy Tunes featured the organ as a time machine – hints of Bach fugues, hymns, spirituals and ecstatic soul all flew out during Goldings’ solo, framed by his comprehensive range of tones which he moved between freely like a fine artist changing brushstrokes. He’s a musician who understands the power of familiarity in an unfamiliar context – his mesmerising, fractured introduction to Thelonious Monk’s ‘Misterioso’ brought a dissonant take on a nursery rhyme and then later imitated the tones of dial-up internet before launching into the blues.

Goldings spoke with his signature brand of humour and introduced ‘This Guy’s In Love With You’, a tribute to songwriter Burt Bacharach who passed away just a few weeks ago. The tender interpretation gave way to an organ solo which travelled far from the simplicity of the melody, and still carried the delicate feel even to its limits. After Bernstein’s impeccable choruses, the melody closed with a swell from Stewart’s cymbals and the throbbing organ that rose and fell with a contour so perfectly aligned it felt as though they were one.

‘Libra’ by one-time Jazz Messenger Gary Bartz followed, rousing the audience with Stewart’s distinctive fast, swinging ride patterns and rich-toned kit inventions. Again, the ensemble quietly did the impossible as Goldings’ left hand and Bernstein’s comping weaved around each other, never stepping on any toes, and at times seemed indistinguishable during the burning Hammond solo (this particular instrument and Leslie speaker were generously lent by the UK’s own organ trio leader Ross Stanley).

Bernstein is no stranger to sharing the stage with organists, having recorded albums with Dr Lonnie Smith and Melvin Rhyne, who was sideman to Wes Montgomery and B.B King. His understated tone and faultless touch turned ear-bending phrases into moments which required no energy to enjoy, and the calm pacing and expressivity of his solo cadenzas brought stillness to even the packed basement of Pizza Express.

Stewart’s ballad playing was subtle, considered and unbelievably steady, but contained so many incredible textures that it was as exciting to listen to as any of the up-tempo tunes, which of course he delivered on as well. He simultaneously carries the tradition of earlier melodic drummers such as Art Blakey and Max Roach and asserts his own envied style that felt so familiar after hearing countless players attempt to imitate his flow and sense of unstoppable momentum.

The evening concluded with two Peter Bernstein compositions: ‘Jive Coffee’, considered by many to be a modern-day jazz standard, first recorded on his 1995 record Signs of Life, and the more recent ‘Blood Wolf Moon Blues’ (2020) – a big finish to a set characterised by its profound musical maturity and masterful execution.

Perpetual Pendulum is out now on Smoke Session Records.

The post Larry Goldings / Peter Bernstein / Bill Stewart – ‘Perpetual Pendulum’ at Pizza Express Dean Street first appeared on UK Jazz News.