Philippa has had an extraordinary musical career spanning more than three decades. Trained as a classical pianist, vocalist and composer at Chetham’s School of Music, Philippa went on to study a degree in music at Oxford University and was steering towards a career as a film and television composer when she “fell into” singing on the West end. Her pristine classical voice and powerful musical theatre belt ensured Philippa was in high demand as a leading lady. She starred in a number of high-profile roles, including Cosette in Cameron Macintosh’s ‘Les Miserables.’ All of this came to an abrupt end at the age of 27, when Philippa was told that she was “too old to sing on the West End.”

“If you don’t look 18, they’re not interested.”

This feels worlds away from the UK jazz scene, when Norma Winstone is still regularly touring in the UK and Europe at 83 years old, but the reality of musical theatre is there is a diminishing repertoire of roles for woman as they age. Philippa nonetheless faced what must have been a deeply unsettling and destabilizing time with grace and ingenuity, and sidestepped into a career headlining shows on major cruise ship stages. Her audiences were full of praise for her renditions of Andrew Lloyd Webber and Stephen Schwartz, but as someone who had always wanted to write, after so many years performing other people’s songs it felt like “something was missing.” It wasn’t until Philippa was researching royalties for the purpose of releasing an album of musical theatre covers in February 2023 that she realised it would be much more cost efficient to release her own music.

This was the catalyst that Philippa needed. Finally, after nearly 30 years as a successful vocalist and musical theatre performer, the call to write grew too loud to ignore any longer and Philippa penned a number of infectious funk singles, including the hit ‘Funk My Life’. She hit the studio with a carefully curated band of world class musicians, including legends Paul Turner (bass) and Derrick McKenzie (drums). Finally, her obsession for jazz and funk was given the chance to take center stage.

“I’m having so much fun, it probably should be illegal!”

It is worth pausing to remember the Philippa is not solely a vocalist and composer, but also a very fine pianist. Walking in the footsteps of Carol King, Nina Simone and our own Liane Carroll, Philippa’s skill as a pianist might fly under the radar at first due to her impressive vocal fireworks, but actually, she has some serious funk chops!

“It’s just my addiction, I guess. It’s always a work in progress. I want to be learning until my fingers seize up and I can’t play anymore!”

Musical theatre singers are notorious for trying their hand at singing jazz and falling short of the mark, yet Philippa manages to bring an authenticity to her vocal performance that is refreshingly on point. One can certainly hear 70’s funk and acid jazz influences, but Philippa Healey sings like Philippa Healey and no one else. The evolution of an artist – by embracing all of her musical DNA, from Sondheim to Stevie Wonder, Philippa has landed on a sound that is joyously, defiantly all her own.

“At the end of the day, we all have something unique to offer. I have to be myself on stage.”

Fans in London will have the opportunity to see Philippa with her original project live on March 12^th at Crazy Coqs Cabaret in London. She is joined by a band of heavyweights, with Nick Costley-White on guitar, Liam Dunachie on keys, Derrick McKenzie on drums and Paul Turner on bass.

The post Philippa Healey first appeared on UK Jazz News.

The opening number, ‘Sunlight’ begins with a solo piano introduction that glistens with clarity and sensitivity. In time, Muir is joined by the instantly recognisable voice of Brigitte Beraha, singing lyrics both intimate and nostalgic by poet and neuroscientist, Anjali Bhat:

“I opened my eyes
and was most surprised
to find the sky outside was grey
For where you had taken me
Where I had been swept away
Was full of sunlight
Sunlight in a kiss”

George Crowley emerges on bass clarinet and the interplay between him and Beraha is pure delight – the trio captures a contemporary chamber ensemble vibe, joyously reminiscent of Azimuth.

‘Home Now’ is ten-minute exploration of sonder and the beautiful agony of belonging to two places at once. Bhat’s lyrics are a gift, capturing a gentle melancholy and the indefinable nature of home – particularly poignant for an antipodean living in London. In this piece, we are introduced to Jakub Cywiński on double bass, who’s playing sings with a melodic lyricism akin to Palle Danielsson, and Eric Ford on drums, refreshingly understated, dancing lightly with brushes. Muir lets his fingers fly in a solo that captures the depth and length of home stretching half way around the globe, and Beraha takes the breaks off, vocalising in free-flowing interplay with Crowley’s bass clarinet.

It’s worth mentioning that the band did not play all together until the recording itself at School Farm Studios in Essex. Muir rehearsed the rhythm section and frontline separately by design, as he wanted to” capture their encounter with the music in a very honest way.”

One of the most stunning qualities of the album is how loudly the musicians listen to each other. Master engineer Stefano Civetta managed to capture not only the instruments themselves with crystalline clarity, but also the intimacy of five top improvising musicians listening at full capacity.

‘Silent Acknowledgement’ opens with a piano introduction that was recorded in just one take. Muir commented on the “beautiful lengths of sound” from the Steinway model D at School Farm Studios and he certainly makes the most of the “intimacy of the sound” in this piece. Beraha’s vocals are particularly hypnotic, bringing to life Bhat’s subtle lyrics, set to a melody that has distant echoes of Bill Evan’s ‘The Peacocks.’ This is another trio moment for Muir, Beraha and Crowley and a masterclass in space. The song ends without warning, Bhat’s lyrics ringing in the silence:

“A silent acknowledgment
Passes between us
Soft, unseen
Just a breath
Jointly in an instance

We agree
We bury
And it’s left unspoken”

‘Balm’ is a quartet number featuring Crowley on tenor saxophone. His phrasing in this piece is particular joyful. The composition is subtle, but not shy. Infact, everything about this record is quietly assured and understated. Cywiński finds space to breathe fragments of melodies between the tenor line, surfacing for a moment before descending once more, and Ford plays mallets with great warmth and tenderness. Muir emerges with a piano solo that seems to ripple away as gently as it began. Muir was clear about “the conception of the whole being the most important thing.”

“Because the songs matter so much to me, it’s not about me shredding over them at all, it’s about telling the story.” This dedication to expressing the heart of the compositions is shared by all five musicians. Solos bubble up out of the ensemble and simmer back down in an organic way; the lines of form and structure gently blurred.

The final composition of the album is ‘Overjoyed’ – a gospel influenced waltz for quartet, once again featuring Crowley on tenor saxophone. The quartet play like someone left the back gate wide open: blue skies, fresh air and freedom. It is a beautiful high note on which to close the album.

‘Home Now’ has so much to say, but subtly, gently. Whether floating on the surface or plumbing the depths of layers of meaning, this listener is coaxed into a world of nuance and beauty. ‘Home Now’ is available to buy and stream on all platforms. Auckland audiences can catch Muir live with a local band in December and UK audiences will have the opportunity to attend the live launch with original line-up at The Vortex in March 2025.

The post John-Paul Muir – new album ‘Home Now’ first appeared on UK Jazz News.

World Heart Beat have programmed a diverse line-up of established and up-and-coming jazz artists for this year’s EFG London Jazz Festival. 

November 15th kicks off with ‘Secret Night Gang‘ – British jazz, funk and street soul masters led by Manchester musicians and childhood friends, Kemani Anderson and Callum Connell. They’ve appeared at the North Sea Jazz Festival, Montreux Jazz and Primavera Sound, so this will be a rare opportunity to see them play in such an intimate setting.

Bassist Orlando Le Flemming brings his Romantic Funk project to World Heart Beat for the second night of the festival on Nov 16th, with a killer lineup of UK heavyweights: Nathaniel Facey on alto sax, Tom Cawley on piano and James Maddren on drums. There will also be a special opening set from fusion jazz pianist, Asa Martinson. By far the funkiest night of the festival program!

Sunday 17th hosts a special tribute to Jamaican guitar legend Earnest Ranglin, led by Nick Cohen on bass, who spent time touring with Ranglin. The band (Femi Temowo on guitar, Jason Rebello on keys and Kenrick Rowe on drums) will perform some of Raglin’s most iconic tunes, including music from his Below the Bassline album. 

On Monday the 18th the ‘Cameron Scott Jazz Orchestra‘ will be squeezing their 18-piece band into the World Heart Beat concert hall to perform Cameron’s original compositions and arrangements. A talented young trombonist, euphoniumist, composer and arranger, Cameron sites Duke Ellington, Thad Jones, Bartók, Stravinsky and Shostakovich as his musical influences. 

Rosie Frater-Taylor will be performing her celebrated new album, Featherweight, on Tuesday the 19th. This young virtuoso guitarist and vocalist has caused serious waves in the UK and Europe with her unique style that boldly blurs the lines between rock, alt pop, neo soul, jazz and folk. 

Wednesday the 20th hosts an incredible double-bill for an evening of traditional jazz with the Ayo Vincent Trio and the Deelee Dubé Quintet. With so much genre bending and jazz-adjacent music in this year’s EFG London Jazz Festival, Ayo and Deelee are joyously bringing things back to the tradition. 

British jazz legend Zoe Rahman will be performing music from her 2023 album Colour of Sound alongside brand new compositions in an intimate trio performance on Thursday the 21st. She is joined by Gene Calderazzo on drums and Alec Dankworth on double bass. A rare opportunity to see Zoe perform in such a stripped back setting. 

Friday the 22nd hosts a very special evening with legendary pianist, composer and World Heart Beat artist in residence, Julian Joseph – ‘Atmospheres in Audio Theatre’. Julian is joined by Benet McLean on violin and Alok Verma on tablas performing new music specially composed to showcase the groundbreaking capabilities of the d&b Soundscape System.

Lastly, renowned jazz guitarist and composer David Preston presents Volume 2 of his acclaimed quartet album, Purple / Black, released in September this year. He is joined by Marc Michel on drums, Ivo Neame on keys and Kevin Glasgow on bass for what promises to be a stunning end to the World Heart Beat EFg London Jazz Festival program. 

On Wednesday the 27th, if you still want more, why not join the ‘Jazz Supper Club’? Guests will enjoy a light 2-course meal with wine, and jazz from the students at the World Heart Beat Academy. These events help raise vital funds to support the World Heart Beat charity’s work with children and young people. 

Ticket prices for the EFG London Jazz Festival program range from £14 – £35 with the average ticket price sitting at £25.

The post EFG London Jazz Festival at World Heart Beat Embassy Gardens first appeared on UK Jazz News.

Something that stands out immediately when talking to Harrison is his humility and gratitude to those who have come before him. Paying homage to the greats – Sidney Bechet, Charlie Parker, John Coltrane, Harrison says

“I worked decades to get the chance to play with every generation of jazz artists and fortunately all of those people live inside of my fiber. I’m thankful for that. They were inclusive musicians; in that they included everything that they heard and felt natural to them. Those ideals are the ideals that I aspire to.” Harrison talks with great love about Charlie Parker and the lessons he learned from him over the years:

“I’m still studying Charlie Parker – sometimes I get the lessons later. I understand the notes, but the higher logic of what he’s doing, sometimes comes a little later.”

Quoting Parker, he says:

“If you don’t live it; it won’t come out of your horn! I want to live everything.”

It is no wonder then, after so many decades of living, listening and innovating, that Harrison’s curiosity led him to the exploration of quantum physics, fueled by his friendship with qauntum physicist and fellow jazz musician, Stephan Alexander.

“I was just reading about Einstein and then I had a revelation that I was doing some of these things in a musical way.” An exploration of fourth-dimensional possibilities in music culminated in Harrison’s 2010 album “Quantum Leap”, which continued its evolution to eventually become a full-blown music festival over a decade later. ‘Donald Harrison’s Quantum Leap Festival’ premiered this September in Long Island, New York and featured performances by The Head Hunters, The Joe Dyson Trio and traditional New Orleans outfit, The Preservation Hall Legacy Band to name just a few. Next year’s festival is already scheduled for Aug 14th-17th and although Harrison is tight lipped about the line up, there is no doubt the 2025 bill will be as exciting and innovative as ever.

Harrison is certainly not the first musician to develop a fascination with science. Many jazz musicians have gone down that rabbit hole with varying levels of success. There is always a risk, when composing based on the principals of nature and mathematics, of creating music that is overly cerebral and lacking in spontaneity and humanity – all the things we love about jazz! When asked how he navigated this particular challenge, Harrison responds

“Science is the study of what is natural.” In the study of jazz, Harrison is the eternal student and teacher – always listening and growing:

“Over 200 master innovators – they’re in my DNA. I’ll never leave that part behind. They live in anything that I do from this point on. It’s just part of my being.”

Harrison’s latest release is his multi-genre singles concept. The same composition, ‘The Magic Touch’ is reimagined in eight different genres, with the ninth recording being an acoustic jazz amalgamation of the previous eight genres mixed together.

“We’re finding so many ideas inside the paradigms and how they connect together.” From Nouveau Swing to Latin and Groove, everything is there.

Harrison and his band (Dan Kaufman on piano, Noriatsu Naraoka on bass and Joe Dyson on drums) are coming to Ronnie Scott’s on the 4th of November in a concert that is already sold out to perform “Serious music, but also fun music. Serious fun! From roots to infinity!” When asked about what audiences can expect, Harrison promises to “play from the heart in a way that keeps your head bouncing and your foot tapping!”

It is clear that Harrison lives and breathes jazz music mind, body and soul. After so many decades learning, playing and mentoring, he has left an undeniable imprint on the genre that will stretch far into the future. Always the teacher, Harrison’s ends our conversation with one final piece of advice:

“If you think of music like a bank account, you realize what you have to do. You can’t take anything out that you didn’t put in, so do your work!”

Click here to listen to all one-minute versions of “The Magic Touch.

UK Jazz News has two tickets to Harrison’s sold-out Ronnies show to give away to a lucky subscriber to our newsletter, as well as three recordings on a flash drive and a limited-edition lithograph.

The post ‘Big Chief Donald Harrison first appeared on UK Jazz News.

“We are doing something that we don’t think many other people are doing at the moment” says musical director, Mike Paul-Smith on touring with strings. “So many of the great records had a string section. It provides this lovely cushion for the rest of the music.” 

Of course, finding the right string players for such a project is crucial to the integrity of the music. 

“You can have orchestrally trained classical players come and play this music and maybe not quite understand it and get to the heart of it, but our players really do love it and they really do specialize in it.” 

Infact, all members of ‘Down for the Count’ are hand-picked by Paul-Smith for their love of the music and their dedication to recreating the authentic sound of the iconic big bands of the past.

“So many of the great records had a string section. Anyone who loves the Capitol Studio repertoire from the 50’s will love our band!”

The set list will feature detailed transcriptions of old classics, like Sinatra’s I’ve Got You Under My Skin alongside fresh new arrangements of well-loved standards. As musical director, the majority of the charts are transcribed and arranged by Paul-Smith, though trumpet player and assistant conductor Simon Joyner contributes an arrangement or two. When asked about his favourite arrangers, Paul-Smith says

“I’m bit of a romantic at heart. Gorden Jenkins (Nat King Cole)is my favourite, but Nelson Riddle (Sinatra) is the one I couldn’t live without.”

Of course, swinging horns and lush strings wouldn’t be complete without a great jazz vocalist or two to deliver classics like Luck be a Lady, Girl from Ipanema and S’Wonderful. Fronting the orchestra are three top shelf UK singers: Lydia Bell, Marvin Muoneké and Callum Gillies.

Paul-Smith and the original members of ‘Down for the Count’ met in Buckinghamshire at the Aylesbury Music Centre during high school.

“We were incredibly lucky. Music was something that so many people did and it was just an inspiring place to be.”

Paul-Smith speaks warmly of the “tireless, dedicated music teachers” who gave up their time – often for free – to run thelocal ensembles. 

“Without doing that there’s not a chance that I would have thought it’s something that I can do.”

The success of local music services and their impact on the cultural life of the UK is evident in the roll-call of great artists who have come up through their ranks over the years.

“It’s really important that the arts aren’t pushed aside. There is so much that people can learn and they’re such an important outlet.”

Perhaps the greatest joy of ‘Down for the Count’ is not in their dazzling, detailed arrangements or their worldclass musicality, but in the comradery of the musicians on stage. Paul-Smith not only conducts the orchestra (“I have the best seat in the house!”), but compères the live shows as well, creating a real “sense of occasion.” In sharing historical anecdotes and “the odd story of the bands past, because we’ve been together so long”, Paul-Smith and the band create a familiar atmosphere unusual of large-scale jazz orchestras. 

“Our aim is that when audiences leave, they feel like they know us and that they’ll come back and see us again.”

Audiences across the UK will have plenty of opportunity to see the Orchestra this year. ‘Down for the Count’ have an ambitious 26-date Christmas tour, beginning on the 17th of November at Eden Court, Inverness, and ending once again at Cadogan Hall on 28 December for their annual festive extravaganza, ‘Swing Into Christmas.’ When asked about the preparation for such a large-scale production, the ever-down-to-earth Paul-Smith says with a laugh

“I do spreadsheets!”

PP features are part of marketing packages

‘Down for the Count Swing Orchestra’ play at Cadogan Hall on the 12th of October. For their full tour schedule and tickets, visit https://www.downforthecount.co.uk/

The post Down for the Count Swing Orchestra, Cadogan Hall, 12 October first appeared on UK Jazz News.

Equal Spirits is the stuff of dreams. The mere concept of such an international ensemble existing in the real world seems impossible, and in practical terms (given the current global political climate) it is. And yet, here we are celebrating the existence of Wise and Waiting, a deeply moving album and testament to the power of “shared humanity and connectedness.”

Raph Clarkson’s interest in South African music, and its considerable influence on British jazz identity, began when he attended the Dartington International Summer School to study with Keith Tippett (to whom the album is partly dedicated). He recalls with fondness moments of music making, and chanting “Mongezi Feza, Mongezi Feza” in a composition of Tippet’s which celebrated Feza. It was through these early introductions that Clarkson’s curiosity and love of South African jazz was ignited.

In 2018, with the aid of a Help Musicians grant, Clarkson undertook mentorship with UK based South African pianist and harmonica player, Adam Glasser. As part of his development, Glasser suggested Clarkson take his own compositions to Johannesburg, Cape Town and Durban to rehearse and perform with local musicians. Something magical happened in Johannesburg, which Clarkson describes as “enormously moving and special… they took the music and played it like it was their own.” 

From this cultural collaboration, ‘Wise and Waiting’ was born – a project that might never have happened had Clarkson not visited South Africa with his own material as a means of immersing himself in South African jazz. Ever aware of “the balance between appropriation and celebration”, Clarkson allowed his compositions to be influenced, transformed and reimagined by the musicians he met and collaborated with. One such example is the standout single of the album, ‘Skip’. Originally an instrumental composition, Clarkson talks of how the tune was transformed when vocalist Nosihe Zulu wrote her own melody and Zulu lyrics over the top. “It completely elevated it!” 

Though Clarkson is most certainly the initiator and integral collaborator of this bold project, it is immensely important to him that his audience understands it’s not ‘Raph Clarkson’s Equal Spirits.’

“It’s not that. It’s very much about celebrating the South African contribution to British jazz, but also an equal shared collaboration between musicians now.”

A great fan of the aesthetic of organised chaos, Clarkson relishes the elements of “wild passion and chaos” that exist at the free end of the jazz spectrum, as well as solid grooves, melodies and the clear building blocks of jazz. 

“South African jazz does a great job of painting those connections. It’s the music that excites me, that I’d like to listen to, that I’d like to make.”

It is no wonder then, that Wise and Waiting manages to find equilibrium between so many musical influences: South African spiritual jazz, hymnal and choral music, funk, spoken word (in Zulu, Xhosa, Sotho, Yoruba, Arabic, and English), free improvisation anchored by infectious grooves, and even electronic sampling by British pianist and keyboardist Eliot Galvin blended beautifully into the mix.

Naturally, the album was recorded in a hybrid fashion between South Africa and the UK. The South African sessions, recorded at Sumo Sound Recording Studio, Johannesburg, included dedicated studio time at the end of each day to capture jams and free groove improvisations between Clarkson and the local rhythm section (Yonela Mnana on piano, Amaeshi Ikechi on bass, Siphiwe Shiburi on drums). Some of these improvisations later became entirely new compositions, overseen by producer Sonny Johns and transformed by collaborations and remote recordings with British and European musicians. In this way, Wise and Waiting succeeds in celebrating the South African sound without trying to mimic it.

Sadly, the dream of a live release in the UK with all the album’s collaborators is not currently possible due to the Home Office denying visas, something Johns and Clarkson experienced when collaborating with Ghanaian musician Isaac Birituro. This uncertainty makes it virtually impossible to get South African musicians over to play the album live in the UK. For now, ‘Equal Spirits’ exists only as a beautiful concept to aspire to. However, UK residents can look forward to a live launch concert with a sextet/chamber ensemble, featuring Durban-born baritone vocalist Xolani Mbatha, Chris Batchelor on trumpet (who also features on the album), Phil Merriman on keys, Riaan Vosloo on bass and drummer Yuval Wetzler.

The London launch is at Rich Mix, Shoreditch on Saturday 4 May, followed by a performance in Bristol at the Tobacco Factory on Sunday 5 May. Wise and Waiting is released on Ubuntu Music on 26 April. 

The post Equal Spirits – new album ‘Wise and Waiting’ first appeared on UK Jazz News.

UKJazz: What differences/similarities do you observe between the UK and Swedish jazz scene?

Clara Green: The main difference is just that the Swedish scene naturally is so much smaller, which then leads to there being a bit less musical variety, and of course not the same level of international influence. I do think though, that perhaps the Swedish scene is a little bit more playful, due to it being a bit less crowded. Musicians are not fighting for their spot in the same way potentially, and therefore there is a less career-focused atmosphere sometimes I think.

UKJN: You have just released your debut jazz album “Being Green” How does this reflect on your experience of being a woman trying to have a voice in the UK jazz scene?

CG: I’ve found it a little tricky at times to find my feet on the jazz scene, because I have sometimes interpreted the ‘roles’ for female vocalists as being somewhat narrow. I’ve never felt very comfortable on the function scene for instance, and I’m not really a bebop style scat singer. I was too scared to bring any original jazz compositions out in the open for many years to be honest. I’m so glad I got to know and started playing with the members of my quartet; Bruno Heinen, Andrea Di Biase and Riccardo Chiaberta, because through this collaboration I have really been inspired to work on my writing and take it seriously! I wanted to make the album in part to celebrate that I really love writing music as a way of connecting with other people (and myself sometimes). I’ve also had a sense of wanting to take some ownership of my shape as a vocalist.

UKJN: How important is it to you to have strong female role models in our industry?

CG: So important! I was extremely lucky for instance to study with the incredible Nikki Iles back when I did my bachelor’s degree at Middlesex University – if it hadn’t been for her I think I would have given up on the whole jazz thing in my first year! She is so lovely and supportive of course, but even more importantly she had such a great impact as a musician and a teacher. I don’t mean it primarily in a “If she can do it I can do it”- sense, but probably more that it’s actually very inspiring to be presented with female role models that are on a level that feels unattainable, and that one can really be in awe of. I will also always be grateful to have had lessons with the wonderful late Tina May. Sara Colman is another brilliant musician, composer and singer who has inspired me a huge amount!

UKJN: Do you think that opportunities for women in jazz have improved since you began your career?

CG: I do, but I still think there’s a long way to go. My sense is that there are for sure more female identifying instrumental musicians around and really making a mark on the scene, which is very exciting to see and hear. There’s also great online platforms like Women In Jazz Media, along with more female reviewers, promoters and DJ’s appearing on the jazz circuit.

UKJN: If you could suggest one thing to improve the cause of Gender Equity in jazz, what would it be?

CG: More women in all levels of jazz education, and particularly in leading roles within higher jazz education would be a great thing. I think and hope that this is getting better and better, but I still perceive the conservatoire jazz faculty sphere to be quite male-dominated.

UKJN: What advice would you give to your younger self moving to the UK to begin a music career?

CG: “Don’t do it!” haha. No, but I would probably say try to just enjoy the amazing creative buzz and privilege of being around so many incredible musicians! Be prepared to resist the tendency to get stuck in comparing yourself to other people, and then being blocked by fear that you will fall short. Remember ultimately it’s all supposed to be about the fact that nothing brings joy and spark to your life like making music together does!  

UKJN:  This is an interview for IWD. What does that mean for you?”

CG: I’ve always been a feminist. I have a very strong and highly capable mother who really made an effort to raise her two sons and one daughter (me!) to strive for awareness and openness when it comes to questions around equality, and I think we do need these occasions to highlight specific systems of inequality – patriarchy being a big one!

The post #IWD2024 – Clara Green first appeared on UK Jazz News.

7:30pm on the dot, the lights are dimmed, and the band begins. The bass was walking, but the musicians were flying, serving up bebop lines as tasty as the 12-hour Texas Red Brisket Chilli and Southern Dirty Rice. The trio of seasoned London players (Greg Davis – saxophone, Paul Eldridge – piano, Rob Rickenberg – double bass) presented a first set of failsafe crowd pleasers: The Shadow of Your Smile, All of Me, Georgia, Bye Bye Blackbird and a slinky rendition of a tune I haven’t hear in years – The Pink Panther! There was no clapping for solos, but certainly a warm and enthusiastic rippling of applause after each number. As a jobbing London jazz musician myself, I’ve played my fair share of soul-destroying background gigs in some high-class establishments where the staff are giving side eye and huffing over requests for a simple glass of water… let me assure you, this is not it! Olga, our maître d’, knew all three musicians by name and was spilling over with warmth and genuine appreciation for the band. (Rob and I have played together for years, so in a quiet moment I was able to cheekily verify that the musicians were treated with the respect that they deserved. Big thumbs up from the inside!)

The wait staff were refreshingly down-to-earth and friendly and took food allergies very seriously – most reassuring for this coeliac. My Wild Mushroom and Chestnut Soup starter was delicious, but things kicked up a notch with the Bootlegger’s Moonshine Chicken with whiskey cream sauce and skin-on fries (cooked in their own oil and 100% gluten free! Fellow coeliacs will know what a treat this is.) My date barely said a word as he devoured his Slow Spit Roasted Chicken and Smoked Pork Sausage Gumbo Pot with Corn Bread, which I’m reading as a hearty sign of approval. The dessert menu looked devilishly good, though I must admit that on this occasion, we were defeated. A reason to return for sure!

After dinner, if you’re looking to retreat from the hubbub of the restaurant, follow your feet past the band to the secret back bar with a carefully crafted drinks menu reflecting the cocktail scene of the deep south, but with a West End twist. Signature cocktails include a proper Smoked Old Fashioned, Texas Lemonade and the pink Chilli Guavarita that blew me away. Continue upstairs to the mezzanine gallery, which is available for private hire and can accommodate up to 40 people comfortably. A lush and beautifully secluded space for a sit-down dinner or cocktail event with canapes.

We love London, but sometimes we all need a little escape (without the headache of planning an actual trip abroad!) Americana is just the ticket, with cocktails ranging from £12 – £18, starters from £10 – £20, mains from £15 – £30 and a mean-looking flamed steaks and burger menu. The food is excellent, the staff are friendly, and the band is hot. Jazz lovers, get yourselves along – perhaps we can even teach the tourists how to clap at the end of a solo!

Americana London is at 11 Haymarket, London SW1Y4BP

ALL DAY DINING UNTIL 1AM MONDAY TO SATURDAY AND 8PM ON SUNDAY

The post Americana London first appeared on UK Jazz News.

“How do we organise ourselves to live together as a community?” It’s a big question that harpist and composer Julie Campiche has been asking herself for many years – since her school days, in fact. 

“We should have solidarity classes that teach us the power we can have on big things.” 

It’s no wonder then, that Campiche’s latest musical offering, aptly titled “You Matter” conveys a strong sense of global consciousness, exploring themes of climate change, the refugee crisis, patriarchy and human identity. Released on ENJA Records in November 2022, the album unfolds over seven tracks, opening with the single, ‘Aquarius’ – a ten-minute odyssey named for the rescue boat operated by Médecins Sans Frontières. It’s an eerie and captivating beginning to the record with bowed double bass from Manu Hagmann, underwater-like harp effects and a screaming saxophone solo from Leo Fumagalli evoking the spirit of the once great rescue vessel.

‘The Other’s Share’ is inspired by the relationship between oneself and the other – beginning with a rhythmically unsettling push and pull within the band before opening up into a moving and emotive harp solo. Campiche was the first harpist to complete a Bachelor and Master Degree in jazz composition and performance at the Haute Ecole de Musique de Lausanne (HEMU) and her training is evident in her playing. On the touchy topic of the harp in jazz, Campiche eloquently states “I am a musician. My instrument is the harp. My goal is the music.”

Track three, ‘Fridays Of Hope’ features the sampled vocals of Greta Thunberg, with a call to “wake up and change.” Clemens Kuratle drum solo is truly captivating, dancing around Thunberg’s vocals “I want you to act! I want you to panic!” 

Campiche believes music has the power to inspire “the process of getting involved.” This track is certainly motivating, and powerfully followed by the slowly unfolding ballad, ‘Parenthese’, which conveys the mind-numbing impotency of humankind’s inaction on global crisis’. 

‘Lies’ is a standout track tackling the patriarchy. It features some brilliant extended techniques on the harp, notably an impressively fast muted Près de la Table (close to the soundboard) section,  transforming the harp into an almost mandolin-like instrument. The interplay between the musicians in this number is particularly satisfying. In the six years the band have been working together, they have never played a show with a dep.  

“It’s a decision we made together. Just once I had to say no to a concert because someone was not available. Once in 6 years, it’s ok.”

It’s a bold choice not to work with deps, but one that musically has paid off. There is an overwhelming feeling of synergy and closeness in the sound of the quartet that only comes from years of playing together. 

‘The Underestimated Power’ is an ode to the power of women, opening with a shimmering and spacious harp intro that opens out into a slow building exploration of colour and timbre that sees the harp, double bass and saxophone dance between warm/inviting and harsh/edgy tones. The ultimate climax of the saxophone solo is a clear warning to the listener not to underestimate the power of women. 

‘Utopia’ is a powerful ending to the record with the band in full flight. It’s worth noting that the album was recorded live with very little overdubs, editing and postproduction. Even the electronic effects on the harp are performed live in the studio. It makes the prospect of seeing The Julie Campiche Quartet in performance an exciting one, to see just how they do it. 

The band are currently touring ‘You Matter’ and will be visiting the UK for two very special shows at ‘Band on the Wall’ in Manchester on the 28th of May and ‘World Heart Beat’ in London the 2nd of June.

 Though the album tackles some sombre topics, Campiche’s message remains a hopeful one.

“The feeling of ‘I can’t do anything about it, it’s too big’ – music can give us the energy to get involved and believe again that we can have an impact. We do matter, actually”.

The post Julie Campiche Quartet – new album ‘You Matter’ first appeared on UK Jazz News.

Joni Mitchell‘s career has spanned more than five decades. In 2002 she received a Lifetime Achievement Award at the 44th Annual Grammy Awards for her canon of over 200 songs that have touched the lives of millions around the globe with their tender and raw insights into the human condition. Joni Mitchell is also one of the most covered artists of all time. Certainly, for me, Joni’s songs are the soundtrack to my own soul. She is one of the rare songwriters who walks freely between the worlds of folk, pop and jazz and has worked with some of the true giants of the jazz world, including Herbie Hancock, Charles Mingus, Jaco Pastorius, Pat Metheny, Wayne Shorter, Lyle Mays and Peter Erskine.  

Joni’s expression is not restricted to words and music alone – she painted the majority of her album covers. In fact, she describes herself as a “painter derailed by circumstance”. Her album covers were the inspiration for my own collaborations with visual artists over the years, just as her experimentation with song structure, form and subject matter continue to inform my own writing. If one wants an education in jazz, they listen to the masters – Parker, Young, Monk, Coltrane. For an education in songwriting, I can think of none higher than marinading in the full back catalogue of Joni Mitchell’s recordings – while you’re there, you will most certainly also learn about yourself. 

1. ‘The Last Time I saw Richard’ from Blue (1971) 

My housemate, Jo, gave me a copy of Blue in 2007. I’d been dumped and had newly decided to become a songwriter. Sitting cross legged on my bed listening to Blue opened a window in my soul. ‘The Last time I Saw Richard’ is a masterful end to the album – after setting the scene with two rather naive conversational verses, Joni capitulates in the final verse singing “all good dreamers pass this way some day, hidin’ behind bottles in dark cafes.” This sudden gear change into vulnerability toppled me! What a way to acknowledge the quotidian pain of loss, and the hope that gently follows. “Only a phase, these dark cafe days…” 

2. ‘Edith and The Kingpin’ from The Hissing of Summer Lawns (1975) 

Many of the Joni compositions I love are simply three verses that tell a story. ‘Edith and The Kingpin’ is one – a cutting commentary on the superficial world of wealth and power that casts women as conquests to be won, pitted against each other as objects of desire. It’s a scathing look at the underbelly of high society and I love it! Joni’s live band is insane: Pat Metheny, Jaco Pastorius, Lyle Mays and Don Alias. So heavy. 

3. ‘Coyote’ from Hejira (1976) 

I discovered this song in my early 20s when I was railing against the gendered double standards for sexual expression. Joni sings “Coyote’s in the coffee shop. He’s staring a hole in his scrambled eggs. He picks up my scent on his fingers while he’s watching the waitresses’ legs.” What a way to describe a player. One night, watching ‘The Last Waltz’, an Irish folk-singer friend said “Joni’s a slag.” Boy did he get an earful! 

4. ‘Car On A Hill’ from Court and Spark (1974) 

The song for anyone who’s been stood up. The opening groove with Tom Scott’s sax riff creates a feeling of anticipation. The song is ABA form with a strange and unusual B section that breaks the mood with flowing piano moving through multiple time signatures with layered vocals, chimes and flutes. It’s like stepping into a daydream of denial, before the sound of a horn shatters the vision and we’re back, waiting anxiously for his car on the hill… 

5. ‘For Free’ from Ladies of the Canyon (1970) 

This is Joni’s ode to buskers: “Across the street he stood and he played real good on his clarinet for free.” Delightfully named clarinetist, Paul Horn plays a jaunty New Orleans style solo over the outro. I love how it clashes with Joni’s piano waltz, invoking the competing soundscapes of bustling New York. I always felt Tom Waits was the master of capturing time and place in song, but Joni really nails it with this one. 

6. ‘Goodbye Pork Pie Hat’ from Mingus (1979) 

Joni flirted with jazz influences in her records leading up to Mingus, but this was the moment when she dove in headlong. I adore this take on Mingus’ strange and wonderful ode to Lester Young. It begins with a free intro between bass and soprano saxophone (Jaco Pastorius and Wayne Shorter no less) with Peter Erskine whispering time. Herbie’s electric piano creeps in and Joni sings the head in her distinctive soprano, followed by her famous vocalese to John Handy’s original sax solo on the 1959 record, Mingus’ “Ah Um.” This collaboration was Mingus’ last recording before he died – I cherish it as a gift from two misunderstood, brilliant artists.  

7. ‘Chelsea Morning’ from Clouds (1969) 

This song is from Joni’s second album, Clouds. I am not a morning person, but ‘Chelsea Morning’ is so infectiously upbeat and optimistic, I almost believe I could be. I love returning to these earlier albums when Joni was still honing her mastery of metaphor – “the first thing that I heard was a song outside my window and the traffic wrote the words.” I’d have been delighted to write a line like that at twenty-five years old.  

8. ‘The Jungle Line’ from River: The Joni Letters (2007) 

Joni Mitchell and Leonard Cohen were life-long friends. I love this straight up performance of The Jungle Line – Joni’s beat poem from The Hissing of Summer Lawns inspired by a Henri Rousseau painting. Leonard Cohen’s delivery is like a solemn offering – a nod of respect from one great poet to another. Herbie Hancock’s playing is masterful. You can hear him responding to the lyrics whilst referencing the layered riffs from Joni’s original recording. It’s a stunning duet. 

9. ‘Woodstock’ from Ladies of the Canyon (1970) 

For me, this piece is a masterclass in diatonic melody writing. The song is just two chords, but Joni’s vocal melody is so unexpected and engaging; I’m hypnotised. Vince Mendoza won a Grammy for his orchestral arrangement of ‘Woodstock’ in Travelogue (2022), but I love this stripped back version of Joni accompanying herself on keyboard with tasteful quartal voicings. It just confirms that if a song is well written, it will come alive with just one voice and one instrument. 

10. ‘Both Sides Now’ from Both Sides Now (2000) 

Joni wrote this song when she was just 23 years old. For me, it sits alongside Sondheim’s “Send in the Clowns” as a rare work of true insight into the human soul. Revisiting the song at age 57, Joni brings the weight of her life’s experience to her vocal delivery – it reduces me to tears every time. Vince Mendoza’s orchestral arrangement is truly inspired and some beloved British legends feature on the record, including Stan Sulzmann and Skaila Kanga.

The post 10 Tracks I Can’t Do Without: Joni Mitchell first appeared on UK Jazz News.