Tom, of course, isn’t the first musician to draw inspiration from life in a big city. Elgar, Gershwin, Bernstein and others have all captured its bustle and excitement, as well as the potential for poignancy and isolation which can also be part of the urban experience. In jazz, the Ellington-Strayhorn partnership translated their impressions of place into the sound pictures of their Far East Suite.

Ellington would often surprise his public with new compositions which transcended the usual limitations and expectations of big-band writing, and from the first few bars of the title track of ‘A Year in the Life’, Tom lets us know that he too won’t be bound by anything predictably ‘jazz’. It becomes clear that the music will draw on many styles and genres. Our journey through his cityscape starts with nicely scored sax and brass voicings, reflective and haunting, followed by beautifully judged acoustic guitar and piano work (Jamie McCredie and Will Barry) before we’re fully up and running. Even then, the force of this big band’s blowers is patiently held back to past the 3-minute mark. The rest of the chart is full of ebbs, flows and space before building to a satisfying coda, capped by Tom Walsh’s fabulous lead trumpet.

This is a generous album, 9 tracks coming in at around 70 minutes, and so I’ll pick out just a few other highlights. Also in the press release for this debut album, Tom talks of his admiration for Pat Metheny and on ‘Breathe’ (YouTube below) , this influence is superbly and respectfully acknowledged with lyrical lines of melody and improvisation set against lovely block chords in the brass and saxes. Great writing – terrific playing.

‘Atlas’ is all tone and texture, with the ensemble passages setting the scene for Freddie Gavita’s wonderful trumpet solo. The late Kenny Wheeler would, I’m sure, be delighted to know that his legacy is secure and being taken to new heights by such a consummate master of the instrument. ‘Aplomb’ motors along effortlessly and we’re left in no doubt that this band can also really swing. From the outset, ‘Somewhere Far From Here’ is moving ever forward as it deploys jazz waltz tempos interwoven with clever bridge sections to take us on a scenic journey towards a celebratory, life-affirming destination.

Many of my favourite instrumental pieces are those which tell a story or describe a scene (often referred to as ‘programme music’ in classical music circles). In jazz and light classical, as well as the Ellington, the place-linked pieces on Gerry Mulligan’s The Concert Jazz Band ‘63 album come to mind, along with John Williams’s Holland Walk, written for the National Youth Jazz Orchestra in the early 1970s and indeed, some of Robert Farnon’s orchestral sketches of London in the 1950s – such evocations can be so skilfully vivid, that suddenly, you’re there! A Year in the Life is a very welcome and worthy addition to this formidable collection.

A Year in the Life is released today 21 February 2025

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Fans of the Return to Forever projects will love this recently released recording as both the score and the musicianship are as superb as we’d expect from top American arranger John Beasley and the peerless Frankfurt Radio Big Band.

Also known as the hr-Bigband, what a Big Band they are! The gorgeous section playing, a pleasure in itself, once again sets the scene here for the wonderfully well-crafted solos. The world-class reputation of the German and other European Radio Big Bands has been established over a number of years and is a huge credit to the Musical Directors, Arts Administrators and funding bodies who ensure that jazz music for the larger ensemble continues to evolve and flourish as an art form. Without them, it’s hard to see where the opportunities for specially commissioned, often niche projects, such as this one, would reside. Wynton’s Jazz at Lincoln Center Orchestra is another of course but even top big bands struggle to be financially sustainable without the support of public money.

The highlights of this album are many. ‘No Mystery’ is an awesome arrangement, recycling Chick’s typically complex figures and in places reminiscent of another of his compositions, ‘Spain’: now in the pantheon of jazz standards. There are wonderful cascading layers of sound and terrific piano and bass solos. It’s fabulous, virtuosic playing by one and all.

‘You’re Everything’; is subtle and wistful, with the Fender Rhodes piano sound deployed to excellent effect. Passing the opening melody lines between instruments works very well and the reinterpretation stays light touch throughout. There are top-notch tenor and trombone solos by Denis Gäbel and Günter Bollmann respectively, cutting loose and hitting the heights. The segue into ‘La fiesta’ is a consummate piece of writing: flamenco-style clapped rhythms, the haunting, gradual emergence of the theme is understated and brilliant. This is one of Chick’s festival pieces but here, the arranger chooses instead to give us only a snippet to cast its spell (even once it transitions into the major key); offering a seductive promise of more to come if we go check-out the original.

The final track, ‘Return to Forever’ is by turns, intriguing, ethereal and a seat of the pants joyride. Once it gets motoring, the skill and energy of the rhythm section means it’s always moving forward, never ‘square’ and they hit some marvellous grooves for the rest of the band and the soloists; flute (Oliver Leicht in an appropriately Joe Farrell-esque mood) and trombone (Christian Jaksjø) to feed off. There’s a masterful fade at the end leaving us wanting more.

This great music lives on because greatness is timeless. No Mystery.

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This young band kicked off with a chart from the new record called ‘Illusion’ which, given the title, began in suitably intriguing mode which was then skilfully developed into a pulsing 6/8 section where Jakub’s soaring guitar achieved lift-off. The band was impressive from the start, their acoustic control and subtlety, perfect for the Vortex’s club-sized space upstairs, and the positive response from the predominately youthful punters (most were early twenties to mid-thirties) was immediate. Original and of today, this was music which could engage and transcend genre boundaries.

The second and third offerings, ‘Distance’ and ‘Wait’, haunting and reminiscent of Jan Garbarek, firmly established the ensemble’s top-drawer credentials as a listening, deeply connected unit. Cody Moss on piano, was constantly inventive, Simeon May on sax (and later on bass clarinet) sensitively judged his melody lines and understated solos whilst bassist Huw V Williams showed high-level sophistication in his choice of notes and their carefully located landing points. Adam Merrell on drums was nuanced and always creative, releasing a boundless spectrum of sounds from the instruments in his care to help build the work in progress. The whole rhythm section ably fulfilled its job specification, both driving the band and providing the ties that bound the players together.

The penultimate track of the first set, ‘Casio’, had something of Chick Corea about it and its interwoven harmonic complexity contrasted nicely with the underpinning Latin rhythms. When Jakub really cut-loose on his solos, he was greeted with rapturous whoops of approval from the just-loving-it crowd and the acclaim was well-deserved. His sound reminded me of both Allan Holdsworth (when he was with Bill Bruford) and Larry Carlton: gorgeous, fluid and shot through with an almost epic quality. Like all genuine virtuosos, Jakub never allows his technical skill to overwhelm the musicality because it’s that which communicates to both the intellect and the emotions. Technique is only ever the messenger of meaning.

Mark Lockheart joined the band for the second set bringing his customary invention and gravitas to proceedings before the band welcomed special guest Aitzi Cofré Real on vocals for a track called ‘Dualism’. The evening ended with Sonny Rollins’ ‘Airgin’ and another original, ‘Deptford’.

The Vortex was the ideal setting for this special occasion. There was a lovely vibe generated by the committed team operating the place, all of whom were clearly signed-up to the shared ethos of an important and worthwhile community-based arts project. Wednesday was of course May Day, which traditionally marks the beginning of summer. Jakub’s original compositions, his own playing and that of this fabulous band were also appropriately full of optimism and the promise of good days to come. Nights like this reassure us that the future of jazz is in safe hands.

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Face to Face was made during Nikki’s time working in Germany as Composer in Residence with the awesome NDR Bigband and it’s no coincidence that those countries where the arts are highly valued and receive generous financial support, produce so much culturally important work. As she explains (*):

“The German radio big bands commission new music and arrangements all the time, even the more experimental end of the music, which the NDR is well-known for. There’s a sense too of openness and collaboration within the band, enabling your musical ideas to fly. I’m in my third year of working with them and we get a great reaction to our concerts, with the audiences having a mixed-age demographic. Our recent performance at the wonderful concert hall, the Elbphilharmonie in Hamburg (**), was part of a subscription series which sold out with 2.500 people attending. I can’t imagine a classical audience in London being happy to also pay to attend a modern jazz concert with the same kind of enthusiasm.”

Such positive audience responses and the reassurance of having steady, properly paid work, can surely only enhance the self-confidence and enjoyment of the NDR’s players in making music. On this album, the band was recorded ‘live’ in the studio, with no overdubs or effects, giving us natural timbres as if we were in the room with the musicians. The personnel includes guests Mike Walker (guitar) and Ian Thomas (drums) and there’s plenty of space on all the tracks for the band’s top-class soloists to stretch out. If over-written, big band music can constrain and inhibit the individual, but not here. The arrangements are loosely structured so as to allow time to develop solos, the band only kicking back in when the featured player’s work is done – the power of the ensemble being deployed sparingly for maximum effect.

The eight tracks utilise the full palette of sounds which a big band can offer and whilst each has its own distinct character (the gorgeous layered harmonies and mid-century cool of “Hush”, the high-octane drive of “Misfits”, the angular edgy funk of “Red Ellen” and coiled spring tension within“The Caged Bird”), all sit comfortably alongside one another. The subtle threads which connect these pieces are minimalist and reflective – the haunting post-modern alienation of an Edward Hopper painting lit by the optimism of new beginnings. This album is the diary of an internal as well as an experiential journey and we can hear this retrospection most poignantly on the title track which, as Nikki herself says, has a melancholic, bitter-sweet colouring which owes much to the inspirational writing and playing of the late, peerless, Kenny Wheeler.

Face to Face is evidence that the Big Band can still give us great art. Although the UK’s youth jazz bands and orchestras continue to do a terrific job in nurturing and supporting talent, we can’t pretend that the cultural worth of jazz at the professional level gets the acknowledgement it deserves. At times in the past, there has been decent funding but until we re-invest in what should be a treasured asset, our best people will continue to seek more secure opportunities elsewhere.

(*) Quote from David Shiers’s interview with Nikki Iles, December 2023.

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It’s easy to criticise the BBC for not putting more jazz on radio and TV but whilst the quantity of programmes may be questioned, the quality of their jazz output remains consistently high. Saturday’s edition of J to Z, hosted by the excellent Julian Joseph, was public service broadcasting at its very best – achieving all three of its Reithian objectives in being informative, educational and entertaining as well as, at times, carrying a powerful emotional charge.

The programme began with a nicely choreographed playlist which included the French-Malagasy pianist Mathis Picard, the epic sweep of Okan, an impressive Zoe Rahman (recorded at the recent London Jazz Festival) and the gorgeous sounds of a band led by Brazilian bass player Gili Lopes. But this edition of J to Z was in fact a show within a show as at around the fifty-five minute mark, we were treated to an interview with the sax legend Charles Lloyd. The 85 year-old, Memphis-born master of his craft gave us a concise but rich rear view mirror tour of his life, coloured by words of wisdom and sounds of greatness as he talked of his guiding lights as a musician and as a man.

His choice of music was impeccable; each piece illustrating the evolution of the jazz that was most important to him – Lester Young playing “These Foolish Things”, Billie Holiday singing “I Love You Porgy”, Charlie Parker’s “Embraceable You” and Coltrane giving us the haunting “Crescent” – each of these pioneers standing on the shoulders of their predecessors as the art form grew in sophistication. In his early years he’d spent time playing with the blues titan Howlin’ Wolf, whom he remembered as rough, tough and charismatic and so we heard the crunching “Smokestack Lighting.” Also included on his list of ‘private passions’ was the profound and noble Prelude from Bach’s first Cello Suite 1 played by János Starker, which Lloyd associated with ten years of what he described as “sabbatical” and “deep solitude” at Big Sur on the coast of California.

His love for these artists was heartfelt, but his analysis of what they communicated to us remained clear-minded, insightful and wonderfully eloquent. He spoke of Charlie Parker’s spirit flying high above the Manhattan skyline blessing us with his flights into paradise, of the poetry of Lester Young, of Billie’s gift of direct connection and Coltrane infusing jazz music with a new-found spirituality. All of them sang of their dreams and this had given him inspiration and consolation for which he was grateful. It had been his life’s mission to make the same contribution; sharing the healing, transformative power of music to help others rise above sadness and man’s inhumanity in order to make a better world – as he said, “the winds of grace are always blowing, we must set our sails high.”

In a fitting conclusion, Julian introduced Zoe Rahman’s final number from her London Jazz Festival set; chosen, as she said, because of “all that’s going on right now…” – called “Peace”. I’m sure Charles Lloyd would have approved.

The show, produced by Thomas Rees, a Somethin’ Else production for BBC Radio 3, is available via BBC Sounds for another 28 days. I can’t think of a better way to spend your time.

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Dave Stewart’s main collaborator here is pianist/composer Hannah Koppenburg. The nine tracks feature fine contributions from Freddie Gavita and Peter Horsfall on trumpets, Alex Garnett and Giacomo Smith on saxes, flute and clarinet, Daniel Higham on trombone and Jesse Samler on bass and drums. Vocals are by Hannah, Dave, Sarah Dorgan and members of the band.

It’s relatively short; around 25 minutes, with relaxed, joyous playing of nice tunes, the composition of which apparently came out of just sitting down and jamming together (Hannah on piano, Dave on guitar). The track titles (“Echoes of You”, “Wandering Down Wardour Street”, “Drury Lane” and others) suggest a reflective and nostalgic, perhaps even bitter-sweet, promenade through scenes of memory. This narrative structure gives the project a movie score feel, just as Miles’ music for the French film drama Ascenseur pour l’échafaud was part of the story telling, and it could also be the soundtrack to your own nonchalant stroll through London, or a hot summer afternoon spent lazing in a city room. Or it might be an easy-going musical aperitif in the local bar.

Most of the compositions wear their blues and ragtime origins proudly on their sleeve and album’s opening and title track, “Cloudwalking”, uses its New Orleans-style roll, breathy vocal and old-fashioned horns to evoke the age of trad’. There’s great work on trombone, clarinet, guitar and Louis Armstrong-style trumpet. It feels spontaneous and fun.

“Echoes of You” is teed-up using melancholic chords on the electric piano followed by a richly timbred trumpet (or is it a flugel?) and sublime vocal effects. The gentle samba rhythms of “Speechless” follow, subtly decorated by dreamy flute arpeggios and a superbly crafted clarinet solo. Each of the next five tracks are also cleverly woven, maintaining the vibe of the project as the story moves forward. The last track, “Closer to You”, begins with what sounds like bar room chatter before the horn lines, vocals, trumpet solo and neat bass work under the sax and trombone take us home and the background voices and footsteps fall silent. We’re left to put our own interpretation on the happiness or otherwise of the story’s conclusion; neither Dave nor Hannah are giving very much away. One thing for sure is that this record has the deft touch of an experienced music auteur.

This is the kind of album which might just bridge the appreciation gap for those grouchy rock-oriented folk who have a tendency to moan “Oh no, not jazz”. A modest delight? Yes. Unpretentious entertainment? Certainly. But it also has a quality which is present in all good jazz music – the ability to create a mood. Congrats to all involved. More please.

Track List:

“Cloud Walking”
“Echoes of You” 
“Speechless”
“Soho Secrets”
“Bar Italia Blues”
“Wandering Down Wardour Street”
“Dean Street Swinger”
“Drury Lane”
“Closer To You”

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The players in this sextet are top-of-the-range professional practitioners with impressive CVs forged mainly in music academies and symphony orchestras. But whilst Adrian Miotti (Tuba), Toby Street and James Fountain (Trumpets), Rob Buckland (Saxophones), Sarah Field (Sax and Trumpet), and Richard Watkin (Trombone) have awesome technical skill, their virtuosity never trumps musical expressivity or compromises an ability to emotionally connect with the listener. The 12 original compositions include works by jazz giants Mark Nightingale and Andy Panayi as well as pieces by Charlotte Harding, Dan Jenkins, Misha Mullov-Abbado and members of the ensemble. The album is superbly produced by Chris Traves and it looks good too – including a beautiful digital booklet with excellent photographs, biographies and liner notes.

Track one, ‘Mojito’, grabs our attention with a marvellous trumpet intro and an immediately infectious Latin rhythm. There’s great ensemble writing too as the top lines are generously passed around the band – and with these masters of their craft, sublime dynamic control, and perfect intonation and tone, come as standard. It’s a terrific, feel-good opening. The second Rob Buckland composition, ‘Fjord’, is mournful, gorgeous and full of unexpected modulations and, as the liner notes confirm, owes something to the writing of Norwegian jazz icon Jan Garbarek. Despite its tricky time signatures and high-level technical demands, the final track of the opening trilogy, ‘Bosh’, maintains a wonderful groove. Even though there are no drums, the tempos throughout the entire album never once flag, race or feel insecure and much of the credit for this must be attributed to the accuracy of the bass lines as played by Adrian Miotti on the tuba.

‘The Effra Parade’ (composed by Misha Mullov-Abbado) evokes a south London street scene. It’s hip and it swings. There’s a nice plunger-muted trumpet solo on a 12-bar blues section and the few smuggled-in bars of Gershwin’s ‘Fascinating Rhythm’ will trigger a knowing chuckle or two.

The next four tracks, beginning with ‘Huanan Market’, form a short suite by Andy Panayi about the dark days of the pandemic and is appropriately edgy, haunted and frenetic before celebrating the final release. It’s a nicely judged work with elements of free jazz and 20^th Century Modernism. Andy’s formative musical years were spent in the world of classical youth orchestras and so he’s back home here and sounding very assured.

Charlotte Harding’s ‘Neo’ intrigues and keeps us guessing to the end – playfully skittish and harmonically complex before arriving at a gentle, dream-filled and reflective coda. Track 10, ‘Karatina Market’, is lyrical and life-affirming and could be played by ensembles of any shape or size, from a string orchestra to big band, and still sound wonderful. Dan Jenkins’ ‘Bach in Barbados’ begins with an elegantly crafted chorale before taking us into angular syncopation and a return to the hymnal with a surprise at the end. The album concludes with Mark Nightingale’s Latin American ‘Arriba’. This exciting and joyful piece was originally written as an encore for live performances and there’s certainly enough fiendishly difficult passages here to finish off most bands! Mark is just as much NYO as NYJO in his sensibilities and as with all world-class musicians, he thrives in any environment. This 3 minute 30 second tour de force is the perfect book-end to a great album.

An important piece of modern music-making, Neoteric Ensemble Volume 1 is seriously enjoyable and capable of being enjoyed by the serious. It also sounds like they loved making it. In common with the best projects in contemporary culture, it speaks to the personal, artistic and wider societal benefits of curiosity, open-mindedness and engagement.

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