In a fresh version of ‘Autumn Leaves’ the improvisations became fluent and fluid.  The tightness and almost frail delicacy reminded me of Chet Baker (of which she mentioned as playing her favourite solo in this lovely  tune ) . Then things started to swing with Charlie Parker’s ‘Au Privave’, with wonderful solos by all,  driven with exciting force by Corrie Dick, whose drumming was urgent and imaginative throughout.’

Then came a gentle and exquisite version of Ellington’s ‘Come Sunday’ where the notes seemed to gracefully float into the mist outside  . It was most beautiful,  and seemingly transcending time and place. On occasion‘s Laura Jurd seemed to let go of the trumpet, creating a gesture with her hand , as if the music was a bodily expression. An extension of her gestural playing. 

With ‘Bye Bye blackbird’ Frank and Mark’s playing with Corrie Dick brought to mind those special interactions between Keith Jarrett and Gary Peacock on the glorious version of the piece on the ‘Live at Deerhead’ recordings . The closing piece was a fabulous spirited and fresh re imagining of the classic Miles Davis ‘All Blues ‘ with great solos by all . 

The whole performance felt humble yet enlightening with such imagination and lightness of touch on such old classics. 

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I’ve seen Art Themen many, many times and have numerous recordings of him with the great Stan Tracey combos. He provides for me a link with the jazz greats, playing with the likes of Charlie Rouse, Red Rodney and Peter King and many more. He seems to be defying age (now 83) taking on the look of a Guru alike Sri Chinmoy and his playing though mellower, seems to retain a real power sometimes reminiscent of someone much younger like Joe Lovano.

Playing with Barnes, the two seemed to bring out the best out of each other, complementing each in style. This was particularly evident on the Sonny Rollins tune ‘Airegin’ with such tight and melodious playing. The harmonies made me think of the version arranged by Marty Paich on one of my favourite albums, “Art Pepper + Eleven” – I later found out that Barnes has completed a project on it.

I thought Barnes’ exquisite tone shone out wonderfully on the Sidney Bechet tune “Si tu vois ma mere”, which they made sound so fresh and modern.

However, the evening was particularly interesting for the change of the dynamics, and put a particular spotlight on Frank (Harrison) and Mark ( Hodgson)‘s own playing . Frank in particular with an exceptional solo on a Cedar Walton piece “Midnight Waltz” and Mark Hodgson with wonderful sonorous playing on Duke Ellington’s “Love you Madly”, with drummer Tim Giles. Hodgson and Giles on occasions – for me at least – evoked the spirit of John Ore and Frankie Dunlop in the classic quartet with Monk and Charlie Rouse.

This felt like a thoughtful and fitting end of the year performance in this intimate, adventurous and exciting project which also benefits from the warmth and the goodwill of volunteers. I am so looking forward to see what they have up their sleeves for Oxford in 2024.

The post Art Themen and Alan Barnes at Frank and Mark’s first appeared on UK Jazz News.

The musicians entered almost unnoticed, followed with a lovely humble introduction to (and from) the Juno Award-winning guitarist who had come all the way from Canada. This was her first visit to the UK, and one of only two dates [the first being at Pizza Express Dean St. in London, where accompanying images here were taken].

From the start, opening with her own composition ‘Trail Blazer’, it was clear to see what an exceptional virtuoso Jocelyn Gould is. In this intimate setting, the clarity of sound was outstanding, providing the perfect environment to hear the intricacies of the playing, and the harmonic and subtle support from Mark Hodgson on bass, Frank Harrison on piano, and special guest Stephen Keogh on drums.

Even before Gould introduced ‘Jingles’, a clear love of Wes Montgomery could already be detected in her playing. There were also echoes of the precision and clear harmonies and sound of Pat Metheny and other great players, but nonetheless an impressive exuberance, fresh and joyful sound all of her own.

In ‘My Shining Hour’ and her own ‘Bright Note’, there was an astonishing and intense focus in the playing. Gould has a positive, joyful and playful presence. Her enthusiasm and a plain enjoyment of the music is infectious, but there’s also a real scholarly, serious approach. In an introduction to a Duke Ellington tune ‘All Too Soon’ she spoke interestingly about her fondness for sad songs written in a major key. She also spoke about research and you felt there was a searching element to it all.

However, what was most incredible and somehow unexpected was when she started singing. Her voice is restrained, precise and beautiful. There were shades of Blossom Dearie with an unusual fragile quality (Chet Baker like), particularly on her version of Richard Rogers’ ‘Bewitched, Bothered and Bewildered’ and on her own composition ‘I haven’t managed to forget you’, which had outstanding accompaniment from Mark Hodgson.

I’ve been particular in writing about the titles, because it seemed such a thoughtful selection, almost like a selection on Radio 3’s great programme ‘Private Passions’.

This felt such a very special, intimate performance and somewhat elevating. Here’s hoping Jocelyn Gould will visit the UK again soon.

The post Jocelyn Gould at Frank and Mark’s first appeared on UK Jazz News.

His name was Mike Walker. Since then my brother and I between us have kept a track on his career, seeing him with a variety of bands, in different contexts relatively recently with the Impossible Gentlemen but rarely on his own. .

This gig at my local Frank and Mark’s was with musician friends Mark Hodgson (bass) and Frank Harrison (piano) this time joined with the sensitive renowned drummer Andrew Bain. This performance coincided with the loss of the glorious Carla Bley and so it was particularly touching to hear Mike Walker speak with gentle warmth of his friend and collaborator Steve Swallow, and the night ended with a graceful performance of Swallow’s amazing “Ladies In Mercedes”.

The playing (as ever) was beautiful, harmonious and sensitive. There was often a lovely silence at the end of each piece. Both my brother and I independently thought Mark Hodgson seemed to channel the great Scott LaFaro on this rainy evening. There was a particularly accurate and lovely version of an old forgotten Scofield Tune “Keep Me In Mind” where I could almost hear Joe Lovano (on the original) stepping in from the sides. And a great version of “Strange Meeting” by Bill Frisell too. Another highlight for me was Walker’s own intricate tune “Clockmaker”.

Walker, at the end of the evening, remarked gently of the ‘beautiful vibe’ of the evening. His words rang true and were moving in the context of such a sad day for music, and such a traumatic week in the world.

Mark Rowan-Hull is a visual artist based near Oxford

The post Mike Walker (feat. Andrew Bain) at Frank & Mark’s first appeared on UK Jazz News.

The hall is small, and could host a sound art installation. A Possible suggestion could be Janet Cardiff’s and George Bures Miller’s 40 part Motet. Or perhaps an Elaine Radigue work for deep listening. The sound and acoustic in there is incredible.

It is all organised by two exceptional jazz musicians, living locally who have international reputations and as session musicians. Bassist Mark Hodgson and pianist Frank Harrison.

Mark has played with people such as Bruford’s Earthworks, Pharoah Sanders, Brad Meldhau etc… etc … and Frank Harrison, Mark’s friend and colleague, an outstanding pianist who has played with many greats too.

This night was particularly special for me, as they had invited the legendary singer Cleveland Watkiss and Exceptional drummer Mark Mondesir.

This evening he explored his own pieces from his great album ‘Blessing in Disguise’ including exquisite interpretations of “Autumn Leaves” and Monk’s “Criss Cross”, amongst others.

Apparently , these musicians had never played together as a group before… hard to believe, as from the first note, it was clear they all connected. Cleveland ( a professor of improvisation at Trinity Laban in London) explained to the audience how Jazz was a language that, once you knew, was like having a conversation. It was all about the getting to know the language …

Cleveland is an extraordinary and versatile singer ( most recently releasing a successful Reggae album and tour), but also a constant explorer, and is at home in many different genres DJing, Drum and Bass, electro, MC ing, Opera, Collaborating and even working across art forms (recently at American Artist Tavares Strachen’s show at Marion Goodman Gallery) which for me makes him such an exciting stimulating performer to watch and to learn from.

Surprisingly, I’d never actually heard him in a straight jazz setting before and it was beautiful seeing him listening and improvising so intently hosted by such sensitive musicians.

The exciting interplay between him and Mondesir had a rare and telepathic connection, (apparently honed over years) and a joy to witness, perfectly balanced with Mark Hodgson’s subtle, sensitive yet authoritative bass and Frank Harrison’s gentle and harmonic improvisations creating clear colours and textures for me.

The band left briefly to let Cleveland improvise solely with live electronics and looping, it was complex and wonderful, which for me added more depth for the listener, and pay attention more closely when the band reappeared. 

The most ecstatic moment came in the form of a drum solo to ‘Let’s Face the music and Dance’ which almost took the roof off the building. Just to observe the band‘s enjoyment of this, was glorious to see.

I have seen many Jazz greats and legends over my years as a reasonably obsessive jazz lover, in many, different venues, often far afield too , but can only think of a handful of experiences when Jazz has sounded so perfect, the acoustic, the intimacy and the sensitivity of playing as one.

In a world of streaming, AI and large international Festivals, this was an astonishing intimate musical experience, and not too far from my own doorstep.

Frank and Mark’s is at Iffley Church Hall. Next guests are Mike Walker and Andrew Bain on 18 October (advance booking recommended).

Mark Rowan-Hull is a visual artist based near Oxford

The post Cleveland Watkiss and Mark Mondesir at Frank and Mark’s first appeared on UK Jazz News.