YORK JAZZ SCENE ‘Promoting jazz musicians and serving their supporters’
What’s Inside?
Issue 3, August 2009
York’s Young 4-6 Bloods My First Time
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Mayday Project: Out on a Limb
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Where Are They 1013 Now? Jazz Weekend 1416
Hold the Phone!
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WorldService Project
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Bigger and Better?
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Way Out Northwest
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Three is Not a 28Crowd/Esbjörn 29 Svensson
Editor’s Greeting York Jazz Scene!
an email (the address is on page 27) before October.
Sitting here, putting in the finishing touches, I am not sure what has left me the most surprised - the fact that this has turned into a bumper edition, or that my time in York is almost at an end! This is an ideal opportunity for YJS move away from being a oneperson operation, so if you believe YJS has proved a valuable asset to the scene and think it should be continued, don’t leave it there - do something about it! Talk to me, or send me
Whilst no one can predict the future, the diversity of content within this issue showcases exciting innovations from seasoned and freshfaced jazz musicians and enthusiasts alike, which leaves me confident that jazz will continue to thrive in and around York, even in the face of economic adversity. However, that should not lead to complacency; like all things, jazz can only grow with adequate
Welcome to Issue 3 of
love and support, so it is really important to attend live events and enjoy recordings by local musicians, as well as higher profile artists. My heartfelt thanks to everyone who has been involved with YJS and continued to show their support - it truly would not have been possible without you!
Anna Lacy York Jazz Scene Editor
A Year in the Bosch
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Find YJS Online
In the Zone
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Read online: http://www.issuu.com/yorkjazzscene
From Bebop to 3840 Free
MySpace: http://www.myspace.com/yorkjazzscene
Ones to Watch 42 Gig List
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Google blogspot: http://www.blogspot.yorkjazzscene.com Facebook: Type ‘York Jazz Scene’ into the Search box
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YORK JAZZ SCENE
Foreword by Ron Burnett
Deputy Editor: Gwen Postle Contributors: Tom Adams Julian Argüelles James Ball Chris Batchelor Richard Blake Ron Burnett Tom Cameron Andrew Cox Jonathan Eato Duncan Fermor Michael Hailes Tom McCredie Vanessa McWilliam Phil Merriman Dave Morecroft Joe Murgatroyd Matt Postle Matt Robinson Dennis Rollins Katie Saunders Gareth Taitt Becky Thumpston Martin Williams Photography: Leonie Taylor Richard Walker Sally Wilson Logo Design: Amy Wray
©York Jazz Scene. Copyright of individual pieces remains with the contributors.
As a grey and wrinkly commentator on jazz in York since 1893, my delight in welcoming YJS was rapidly followed by a question – how would this fragile young nipper survive commercially? A calculation of the number of local jazz musicians likely to buy came to 47. As to jazz fans, how many people turn up regularly to listen to live jazz in York ? An optimistic estimate of 20 makes a combined figure of 67, not enough to pay for a print run. Fortunately, rescue has arrived via the website issuu.com, where YJS can be read online by all. Good news for YJS, but the figures above give some reason for the recent troubles with one of York’s premier jazz joints, the Black Swan (Peasholme Green). Not enough people are turning out and buying drinks. However, all is not
lost. The jam nights are currently running on the second and last Wednesdays of every month with regular exciting guests at the still bargain-busting price of £3! [Support live jazz in York – get to these gigs!! – Ed.] All credit to Jazz York honchos Paul Baxter and James Lancaster who will continue to offer up-and-coming young players the chance to perform live. Too many jazz fans are adherents of chairobics (similar to aerobics in that they take place in the home, but all you have to do is sit in a chair and watch TV). Occasionally they appear to attend a concert by a big name, and often freely admit that they “never go to see local bands.” Little do they realise that all bands were once local bands. Local musicians taking a first step to fame include: drummer Eddie Hick, who is gigging with Gilad Atzmon and Tomorrow`s Warriors in London; and guitarist Alex Munk being one of the few recipients of the 2009
Yamaha-Classic FM Jazz Scholarship. Furthermore, Five Pieces of Silver, featuring Messrs Baxter and Lancaster have been booked for the Scarborough Jazz Festival in September. YJS has arrived in the nick of time to play its part in re-educating Yorkies to the joys of live jazz. Members of the student population are beginning to turn up at the Old White Swan sessions on Thursdays and Fridays, and also at such enterprising venues as Kennedys, to hear the wonderful Rob Lavers Quartet, which is as good as anything you will hear in the country. Andy Hillier`s Jazz Trio nights at the Dean Court Hotel`s First Tuesday dinners are booked up months ahead and the Royal York Hotel is running two Sunday lunch sessions each month. To find out more information about Ron Burnett’s Mardi Gras Jazz Band, go to: www.ronburnettmardigras. com
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Looking for a Gig? Start the search at these venues! Black Swan (Peasholme Green): York Jazz Jam, second and last Wednesday night of the month, 8:45-11:15pm. Approximately £3 charge on the door. Bring your instrument (vocalists also welcome)! Website: http://www.yorkjazz.com MySpace: http://www.myspace.com/yo1jazz Old White Swan Pub (Goodramgate): Ron Burnett’s Mardi Gras Jazz Band, and Bejazzled, every Thursday night (each band plays on alternate weeks). Kennedy’s Bar (Little Stonegate): Rob Lavers Quartet, Sunday lunchtimes, 12-4pm. The Tanglewood (Malton Road): Jazz trio led by Karl Mullen, Sunday lunchtimes. Ye Olde Starre Inne (Stonegate): John Addy plays here on alternate Wednesdays. The Court Café Bistro & Bar, Dean Court Hotel (Duncombe Place): Jazz Suppers with the Andy Hillier Trio on the first Tuesday of every month, from 8pm. Full payment is required when making reservations. Pizza Express (Lendal Bridge): Monthly jazz events held on Thursday evenings. National Centre for Early Music (St. Margaret’s Church, Walmgate): Jazz performances are a regular feature throughout the year at this venue. The November Jazz Weekend takes place 20th-22nd November. Box Office: 01904 658338 or Email: info@ncem.co.uk. Website: http://www.ncem.co.uk Sir Jack Lyons Concert Hall, University of York Music Department The University of York supports performances by professional artists and student-run ensembles throughout the year. Box Office: 01904 432439 1-3pm Mon-Fri or Email: boxoffice@york.ac.uk. Website: http://music.york.ac.uk/concerts Basement Bar, City Screen Cinema (Coney Street): A variety of events are held here, including the occasional jazz gig. MySpace: http://www.myspace.com/basementcityscreen Turn to page 43 to find out who will be gigging in and around York September-December!
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York’s Young Bloods Read what the next generation have to say about their jazz and improvisation-related experiences in York so far.
(On John Taylor) “He’s a jazz musician, he’s amazingly good, he’s world-renowned, and he’s taking the time to talk to you about what you know about jazz. You could ask him a question, and he would answer you on your level; he wouldn’t seem condescending or anything like that. It’s really nice to just have people of that ability in and around the department, like Julian Argüelles as well, and other people who do guest workshops. It’s just really, really stimulating because you can see where you could get to.” - Tom Adams (Guitar)
“Just having the opportunity to work with other people; there’s only so much you can do in a practice room […] if you’re learning with other people, who are also a lot more talented than you are, it helps. Also, with the John Taylor composition module you got a lot of recommendations about what you should be listening to […] what sounds to imitate, and things like that, which is really useful.” - Duncan Fermor (Saxophone)
“It’s given me a wider appreciation of jazz, because I’ve come into contact with types of jazz that I’ve never really listened to before […] I think it’s given me more confidence to improvise in the right kind of style. I’ve always been fairly confident-ish with improvising on the piano, but on trombone it’s quite different, because you can’t see the notes – but that’s just a practice thing – and it’s given me the opportunity to practice that. I think that the module with John Taylor could have been more structured, in a way, but it’s good to listen to all these different types of jazz.” - James Ball (Trombone/Piano)
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“One thing which has been a key part of my playing this year, has been the much freer attitude that there is here in York, especially with people like JT [John Taylor] and Julian [Argüelles] who come in and say ‘ok, you know what you have to work on’ […] You’re doing what you think sounds right, and they appreciate that, which has made a big difference. It has drastically increased my confidence in my playing, which is good, considering that next year it’s all going to start kicking off […] now that all the third years and band ‘leaders’, so to speak, are leaving, there’s a fair bit of pressure on us [first-years] to start doing stuff. That’s why I think this year has been really useful, to give me a bit of a tuition and preparation for what I’m hopefully going to be doing.” - Tom Cameron (Piano)
“I see it as part of my overall jazz experience in York. Being a part of the magazine and Jazz Orchestra [not to mention York Big Band, and other small group work that she’s been involved in!] has really widened my mind to jazz in general, because I didn’t really know a lot about it properly beforehand […] it’s all helping me become a better jazz player, I think. The more I hear people, see gigs, and the more I read about it, the more I can understand, and that can affect my performance […] ‘cause it’s a kind-of circular thing; you listen to more jazz, you get to understand it better, and you can appreciate what you’re listening to better.” - Vanessa McWilliam (Double Bass)
“Prior to coming here, my jazz playing included my lessons with my teacher who’s quite big in the Bristol jazz scene, so I already had quite a bit appreciation of jazz […] but because I was all about just playing, rather than knowing the theory and stuff, a lot of my basics were never there, so I never had much foundations for my jazz. I guess being here has built that up quite a lot; it’s given me a lot to work, and my teacher [Rob Lavers] here has really been supporting me with the basics, and filling in the gaps, which is what I needed to do, really, which has really improved my playing.”
website: Want more information about York Carnival 2009 ? Log onto - Leo the Plunkett (Saxophone) http: www.yorkcarnival.org
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“I’ve been doing jazz for most of this year. I did Jazz Studies in the first term, and did the Jazz Composition module with JT [John Taylor] in the second term. So there’s been a lot of input of knowledge, which is good, because I hadn’t really done anything but big band stuff until I’d got here. I’ve been getting into it a lot. Doing modules in it means that you listen around and read books on it, and so I’m getting into the jazz genre a lot more […]so my background knowledge has either been get a list of albums that I should have listened to […] or just sit on Spotify for a long time. Jam sessions have been good; I’ve definitely learned some tunes. Before, I didn’t really know [whilst laughing] all the sorts of standards that you’re supposed to have learned, so working out how to do the small group improv thing has been what I’ve done a lot of this year.” - Richard Blake (Trumpet)
All interviews conducted by Anna Lacy.
University of York Jazz & Blues Society Elections Want to see jazz promoted more on campus? Fancy forming a vital link between campus and the city? Then you should run for the Jazz & Blues Society committee! Positions up for grabs: Chair Secretary Treasurer Events Rep Interested? Email: socs573@york.ac.uk to put yourself forward. Elections due to be held during Freshers’ week
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My First Time Andrew Cox Taking the first step to become part of a new community is, without doubt, a daunting experience for anybody; and for a young jazz musician, introducing yourself to the local ‘scene’ is a worrying prospect. Invited down to the Black Swan’s Wednesday night jam session by well-established York jazzer, James Lancaster, at the age of 16 years old, I was that young musician.
opportunity to get up and have a go myself. Following a fifteen minute break, where people bought more drinks, and were treated to Chris Moore playing the Antique Roadshow theme many times in different comedy voices on the piano, it was time for the next set, and I was immediately called up to have a blow.
There were so many things running through my head: screwing up and making a terrible first impression, the judgmental eyes of the audience as some unknown kid steps up for the first time…not to mention the fact that I didn’t really have a clue as to how a jam session worked, anyway!
It all happened very quickly. Thinking about it now, I can’t even remember what tune I played. However, none of my initial worries actually came true: I didn’t screw up, the audience was filled with smiling faces (whether that was due to a few too many beers or not didn’t matter), and I always felt like I was being helped along by the rest of the band.
However, what I anticipated as a night to get through without doing anything stupid, turned into a truly enjoyable experience. Having sat and listened to a brilliant first set, I eagerly awaited the
At the end of my solo and the tune there was plenty of applause from the audience. It was suddenly clear that they had seen many newcomers before and this realization, along with the support, made
everything much easier. So much easier, that I agreed to stick around and play a few more tunes, and was joined by another sax player, who I later learned was the legendary Rob Lavers. We ended up playing until the end of the night! Since then, I have been attending regularly, and have had the opportunity to perform with jazz greats such as Steve Waterman, Joel Purnell, Mark Nightingale, as well as local legend Ron Burnett. The experience increased my confidence immensely and helped take my playing to the next level. Meeting new people has been great, and the new contacts have led to gigs with other new faces. Having been part of the rock scene around the area for a few years, it was enlightening to enter into a completely different community and see another side of the York music scene. It is definitely an experience I would recommend to any young player.
Saxophone legend Alan Barnes plays The Black Swan 26th September. Miss it, miss out!
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Mayday Project - Out on a Limb Joe Murgatroyd
Line up: Simon Roth – composer/drms; Nick Roth – saxes; Alex Roth – gtrs; Tom Gibbs – pf; John Taylor – pf on ‘Boiling Point’ and ‘The Bather’; Colm O’Hara – tbn; Derek Whyte – elec. bass)
After watching the Mayday Project perform an incredible set at City Screen’s Basement Bar earlier this year, I had high expectations of the album, and they do not disappoint. Simon Roth’s compositions are nothing short of inspired, each darkly intelligent while maintaining a distinctive character. The opening track, ‘Twelve Tribes’, sets the bar: a moody tune that lithely darts in and out of dissonance, immediately establishing the album’s colour and superb band dynamic. The group sound ‘tight’ and edgy, playing with a cool intensity and casual virtuosity that compliments the sensitivity displayed in Roth’s composition. As in this track, and throughout the album, each player is perfectly adept as cog in the ensemble or as soloist, and you will be hard pushed to find a weak link in the line up. Jam jar follows strongly, a lilting but relentless bout of lyricism inspired by the
twentieth century great Igor Stravinsky. The constant shifting of tonal centre is unnerving, and makes for another spectacularly dark tune, Gibbs’ beautiful solo singing above the gentle waft of the rhythm section proving a highlight.
a great record with some great players, thus it is one of the only spots on a clearly fantastic debut offering.
The album alternates between the ferocious and the contemplative, and very rarely misses. A personal favourite, ‘Arrival/Departure’, is In fact, the solos on this album incredibly moving; featuring Nick Roth’s warm sound, the are phenomenal, each soloist material is handled stunningly, complimenting the others building to a fantastic soprano wonderfully; O’Hara’s sax solo which displays Nick’s powerful gestures to Alex effortless virtuosity. ‘Boiling Roth’s masterful phrasing to Point’ is another, where tight Nick Roth’s burning lines, each soloist brings something stabs mixed with free sections display the bands amazing different to the table while improvisational ability. This maintaining Simon’s intricately crafted moods. My track also features John Taylor, his wise touch adding a mature only gripe is that, most sensitivity that is a wonderful noticeably on the solos, the addition to the band’s line up piano has suffered in quality through the recording/mixing and to the tunes. ‘East’ is an ethnically charged powerhouse, process, and this slightly amazingly expressive and sullies the great players that severely catchy, whilst ‘Flight or are Gibbs and Taylor; it is hard to harm these two, but it Fight’ brings the album to a suitably epic and dramatic end, is a shame to miss the full going out as dark as it came in. tone one knows they can produce. In addition, With fine compositions and occasionally a phrase is musicians, Mayday Project are a slightly lost in the horns, or must listen. Innovative and the band sound a little thin in captivating, I insist you get some of the meatier sections, yourself a copy or, quite frankly, such as in ‘Flight or Fight’. However, it would be a shame you’re missing out. to let this spoil what is clearly
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Louise Gibbs - 29th April, The Black Swan Inn Anna Lacy
woman! Even though a few weeks have passed at the time of writing, I’m still reminiscing about Louise Gibbs’ performance at The Black Swan in April. The first vocalist for a number of months in the special guest series (and only the second female special guest that I have encountered during my time in York), her presence provided a refreshing lift to the evening.
Care’, Gibbs’ choice of repertoire spanned a myriad of styles, from Jobim’s ‘Our Hearts Are One’, to a lesserknown kooky blues-based tune called ‘Twisted’, by Annie Ross, which Gibbs evidently relished. The audience were treated to a wide spectrum of emotion, from the sensuality of ‘Invitation’, to the heartfelt vulnerability of ‘Never Let Me Go’, which had a beautiful and intimate introduction, accompanied by Chris Moore.
Knowing what a raw deal instrumentalists can get in comparison to vocalists, I must admit that this has left me somewhat wary of them over the years; however, such was my enjoyment that I was left grinning from ear to ear! As well as standards such as ’Caravan’ and ‘Devil May
However, it was not just Gibbs’ delivery that made this an excellent performance, but also her scat improvisations; her skill for invention was fantastically displayed during the heart-racing ‘Anthropology’, where she and trumpeter James
What a night – what a
Want to know more? Check out Louise’s website: www.louisegibbs.co.uk
Lancaster played off each other’s lines during the solo sections. A highly confident performer, Gibbs certainly kept the house band, and sitters-in, on their toes; the use of expertly-timed hand signals not only provided effective communication, but on occasion added an exciting visual dimension to the songs. Without a doubt, this was a wonderful night of music, and one which left audience members with an incredible sense of satisfaction. The opportunity to hear quality artists at a generous entrance fee every month is truly a privilege, and an absolute bargain in times as tough as these, so make sure you’re there in the months to come!
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Where Are They Now? YJS caught up with Phil Merriman on a return visit to York
So, Phil, I suppose we should be saying ‘Welcome back!’ How does it feel to be performing* in York again after so many months?
Great! It’s lovely to be back with old friends. It’s with a slightly new audience, but York’s such a great place to be. It’s a pleasure to play here.
(*Phil’s Trio performed at the National Centre for Early Music as part of the Spring Festival of New Music. Not sure what that is? Check out our interview with Simon Roth in Issue 2)
Tell us about the gig; how was it for you? Really interesting. It was the first time that we’ve performed as a trio in public. I love those gigs where everything is so fresh it feels like a ‘professional creative workshop’, experimenting with the pieces to see how they would work. Obviously, we’ve worked on arranging them lots in rehearsals, but you never know how the audience is going to respond until you get them out there. Garry, the bass player, put it in this way: it’s like a bud, where all the ideas are buzzing around, and through gigging the material, it will open up to reveal something…beautiful I hope! I
think we’re all quite flexible and creative as musicians, so it will take any path the three of us are willing to go down. So how did the audience actually respond? Quite a few people turned up [laughs] so that was really nice! From the word ‘go’ there was support. Comments afterwards were really great – I always like to have constructive criticism rather than just praise – and to have an audience that has good musical knowledge is really good for us as performers, to keep us on our toes.
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How important is it to you, to have included original material in the set? Very important, seeing as it’s one of the first projects using my own material, where I was able to choose the musicians to go with the sounds that I’d already thought about in my head, whilst writing the pieces. I also arranged the standards in such a way that I could put my mark on them. Simon and Garry are just a great pair to be working with. I also feel a responsibility as an improvising musician to express myself and my journey clearly through my music so as to include the audience in the experience of the gig. My compositions are very much inspired by my faith in God, and I see music as a way of expressing something spiritual that often can’t be explained through words. Improvising is so often a spiritual experience for me. Is there a particular way that you would describe the style that you like to play in? Natural, organic, and human a really open and honest kind of music. That’s what I’m aiming for, anyway. Whether or not that’s coming through at the moment, I’m not sure as it’s early days yet. I think that gigging with the trio will really enable that to become something secure. I’m really drawn to players who have that natural, human, organic
kind-of approach to their playing. I think that warmth and visual interaction is really important. Some of my favourite bands that I love going to watch, are constantly interacting with their faces, as well as through the music – and this becomes part of the whole experience of the
“Improvisation […] is such a personal thing, so you’ve got to be able to totally trust the people you’re playing with.” gig. I think it’s really important for the audience, ‘cause it includes them as well and enables them to access the music on a deeper level. So going back to your question about playing my own material, choosing the band personnel is an extremely important process for me. When I’m putting together a band, I’m thinking specifically about the character of musicians as much as the music that they will produce. Character is so important, particularly in jazz and improvised music; you’ve got to be able to trust your band.
Improvisation in itself, as well as bringing your own music to the band, is such a personal thing, so you’ve got to be able to totally trust the people you’re playing with. How interested were you in jazz prior to coming to York? Very, very interested. I had a great teacher at my secondary school, who got me listening to all types of crazy experimental jazz when my mates at other schools were listening to their standard classical set works. My brother is also a studio engineer, producer, and a drummer, so I’ve done a lot of jazz playing with him, as we grew up. What was it about jazz that attracted you to it? It’s been a very gradual process, I think; I’ve gradually grown more to realise what it is, and how I fit into it, and this whole idea of just immersing yourself in the music and expressing yourself. I like to see jazz as a type of ‘folk’ music. I think that that word ‘folk’ really expresses the music that I’m into – a people music, where it’s as much for the audience as it is for the players. People should go in and come away somewhat changed positively by the music.
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then a jazz piece’, but ‘he’s actually just playing music’, where people can enter into that experience. That is where I feel most comfortable in music. Who would you say you are currently ‘digging’?
Who were early influences for you? Herbie Hancock [laughs] as a pianist, he was one of the first jazz pianists I got into, and still is my number one. John Taylor; being taught by him at York was an absolute privilege… I’m always listening to artists from others genres such as Classical, Folk and Gospel. The structure of the course here in York, and the encouraging support from the department meant that, for my recital, I felt enabled to mix classical and jazz. So my recital was a Berg Sonata, and a Bartók Suite, and then I played a free improvisation using aspects from both of them to round off the recital. I just wanted the recital to be ‘folk’ music, for the people, where I was able to express myself, and they join in the experience. I didn’t want people to think ‘oh, Phil’s doing two classical pieces and
Terrance Blanchard, a trumpet player and his band, are phenomenal. They just played at Ronnie Scott’s the other day. As a composer and a writer, he’s really organic sounding, really natural; you just feel like you’re taken on a journey with him. His guitarist, Lionel Loueke, is a French-African guy who’s finally emerged onto the scene as a blinding player. Herbie Hancock’s playing is just outstanding; I’ve always been wary in not wanting to follow the crowd in saying how amazing he is, however I finally saw him live for the first time last year, and it was like ‘this is why people rave about him’, I was absolutely blown away. What was it actually like studying with John Taylor? Inspiring. It’s a word that is totally overused, but in this case, I’m going to use it, ‘cause it’s really got added value when you’re talking about John. He’s got such a fresh approach to the music, and he allows you to play how you want to play. I’d often go to a lesson a bit musically
confused, and always end up coming out of it thinking ‘I just want to play and enjoy music as much as possible, and to do that I will push myself to practice, and work with other people.’ John isn’t really a teacher who would say ‘practice this, practice that’, but you’d just be naturally inclined to want to practice, having met with him, and played with him. What kind-of jazz-related activities did you get involved in whilst you were here? [whilst laughing] Everything! I was pretty much always out playing, rehearsing, writing, recording and gigging. I got into lots of free playing whilst I was at York, where I’d arrive at the department late at night with a group of friends, turn off the lights, and just play. Interacting on that really intimate social level is a real privilege. I pushed as many areas as I could.
“I like to see jazz as a type of ‘folk’ music. I think that that word ‘folk’ really expresses the music that I’m into – a people music, where it’s as much for the audience as it is for the players.”
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But it’s only from coming away from that experience that things have really started to reverberate within me, and I’ve started to understand what I was taught, what I was learning. I’d recommend to anyone who’s done an artistic degree, to take some time out after university to reflect on what you’ve learned. How did you perceive the jazz scene to be, whilst you were studying here? I suppose I just took it in terms of I just met up with people and played, and gradually experienced different things around town and around uni, so I tried to get into as much as possible. My drive is to play with people all the time, so it’s kind-of a natural thing to want to play with different people. But the jazz scene is really inspiring; it’s so important to have players who are going to push you, who are going to open up your mind to thinking in different ways. York’s a great size as well for that kind of community music. Those three years were a perfect amount of time to really get to know the scene, get to know people, and get to play lots, which was great. The proximity to Leeds to catch good gigs, was another real bonus, and I wish that I could have utilised that opportunity and the Leeds scene more; I did that twice, and those were two of the best gigs of my life so far!
So where has life taken you since is about people enjoying it – that ‘folk’ element. Before you graduated? York, I used to categorise the Life’s taken me back to London genres of music, but now I just and I’ve got engaged! Hannah, think of it as music for people, played by people. That’s been my fiancée studied music at York too, she plays and writes part of my process this year of absorbing stuff, to come to very inspiring and beautiful realise more about what music music, and is so supportive in is; it’s a people thing. encouraging my musical journey and gives the most honest and helpful feedback to How can people find out and my music. keep up-to-date with your musical activities? I’m playing as much as possible. My general week musically consists of www.philipmerriman.co.uk. Loads of stuff on there, like gig listings, different projects going on, some audio samples. Otherwise, “it’s so important to myspace.com/philmerriman, have players who are there’s always the latest material up there. going to push you,
who are going to open up your mind to thinking in different ways. York’s a great size as well for that kind of community music.”
Ok groovy, well thank you very much. Thank you, thanks for having me. Interviewed by Anna Lacy.
performing, recording, teaching, practicing, rehearsing…is that enough? To contact Phil: [laughs] As well as the Trio, I’m also running a very exciting function band; I’ve Email: arranged and re-harmonised philipmerriman@hotmail.co.uk many of the normal tunes, whilst keeping the pieces Telephone: instantly recognisable and very 0785 534 0516 danceable. So it’s a fresh appeal to dance music, great fun to play and dance to, and again
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NCEM May Jazz Weekend 8th - 10th May As the official press for the weekend, what did YJS Editor Anna Lacy make of it? Having meticulously attended and immensely enjoyed everything during the November Jazz Weekend, it was with great pleasure that I looked forward to the May programme. What a musical feast! The NCEM team should be commended for providing such a range of performances, and managing to attract audiences that spanned generations. The weekend kicked off with the Simon Spillett Quartet. Saxophonist Spillett has been making quite a name for himself over the past few years, winning the Rising Star category at the 2007 (now defunct) BBC Jazz Awards, and securing a nomination for his album Sienna Red as Album of the Year the following year. And when you hear him perform live, you can understand why; from the first tune, ‘Peace Pipe’, the group pulled no punches, producing a strong collective sound, and Spillett showcasing his dexterity. Featuring tunes from Jerome Kern’s ‘Nobody Else But Me’ to Tubby Hayes’ ‘Off the Wagon’, the repertoire was very much steeped in the jazz tradition, but never overcome by nostalgia. Particular highlights were ‘The Right to Love’ by Lalo Schiffrin (written for Stan Getz), which
featured luscious harmonies from pianist John Critchener, and a lovely cantabile solo from bassist Andrew Cleyndert; and a rendition of the classic ‘I Thought About You’, where Spillett conveyed a quiet intensity in more complex lines, and a sense of
Simon Spillett yearning in the altissimo range, and Critchener provided a very delicate and dainty solo, which was supported to shimmering effect by drummer Martin Drew. Unfortunately, the evening was slightly marred by technical difficulties; Spillett changed instruments between sets, and the new tenor sax tended to squeak, which sometimes frustrated the direction of his solos and ruined a handful of
musically significant moments during a number of charts. Spillett’s displeasure was more than evident, which proved distracting, and it is unknown why he did not choose to retrieve his other saxophone, which had served him so well earlier. Saturday night brought forth the sold out gig from The Burden of Paradise. Whilst not strict jazz fare (there were a number of popular music numbers featured throughout the set), the audience didn’t seem to mind, and actually relished the opportunity to get stuck in by singing and dancing along to the music! What made this gig memorable is how different it was to your conventional notion of a jazz performance in an arts venue; the nature of these venues can lead to a quasi concert hall (and sometimes stifling) sense of formality. However the musicians (Helen Watson – vocals; Snake Davis – saxophones/vocals; Dave Bowie [no, not that one! – Ed.] – double bass; Mark Creswell – electric guitar), from their musicianship, to their onstage dancing and witty banter with each other and the audience, they exuded a warmth which quickly spread throughout the room.
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Instead of sitting in stony silence, people clapped and cheered; rather than remain in their seats, an impromptu dance floor was started at the back of the hall – the atmosphere was fantastic! Davis (likely to have been the main attraction for many) particularly proved his worth on all four saxophones throughout the evening, showing that it is possible to create an engaging solo utilising simple yet effective ideas, and also contributed some fine backing vocal support. Guitarist Mark Creswell, whilst often in a supportive role with Bowie, was also a capable soloist. Watson was a treasure, full of attitude with a splash of sensuality for tracks such as ‘Do the Hip Shake Baby’ and ‘Barefoot’, and displaying introspection and vulnerability during songs like ‘September and the Rain’ and ‘Don’t Explain’. If you can’t catch
them live, get a copy of their album Things That Sting. World-renowned pianist Julian Joseph held the Sunday afternoon slot. A gentle mannered man, he took the audience on a musical journey from an altered version of Gershwin’s ‘I’ve Got Rhythm’ (renamed ‘Who Could Ask For Anything More?’), to a number of his own original compositions. Without a doubt, Joseph is blessed with a highly sensitive touch and musical imagination, which yielded a number of delicate yet intricate solos. He is also able to play upon expectations and lead you astray, letting you believe that a piece will move in a particular direction, before doing a swift about face and taking an unexpected route. Clearly preferring to let the piano do the talking, Joseph is himself a very quiet-spoken
The Burden of Paradise
individual; however, during the gig (which had no interval), he chose to perform a number of songs consecutively before addressing the audience. This was somewhat unexpected – we all have our own habits and idiosyncrasies – and combined with the warm atmosphere of the hall, it allowed drowsiness to ensnare a number of audience members. The weekend’s closer was a collaborative performance between student funk big band Re:Impressions (led by Dave Morecroft) and special guest Dennis Rollins. The group got audience members in the mood with energetic and punchy charts by Gordon Goodwin and Sammy Nestico, as well as arrangements by current and past members Jonny Sims and Raph Clarkson. Rollins made his grand entrance, starting to play at the back of the hall and walking to the front of the stage – the height of cool, and indicative of the good times ahead! – and joined the band for the final chart of the first set, ‘Fables of Faubus’ by Charles Mingus. The ‘bumbly’ bass line created a fairytale-esque atmosphere, leading to impassioned solos from Rollins and trumpeter Matt Postle, which paved the way for the raw energy and intensity felt at the end. The second half featured arrangements of Rollins’ own compositions (again, by
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the talented Clarkson and Sims), but were preceded by the Jazz Suite for Trombone, specially composed by Morecroft for the occasion. The forceful passages, interesting timbres, rhythmic grooves and cantabile melodies demonstrated his intimate knowledge of the big band genre, as well as his long-term role as MD.
Rollins responded wholeheartedly physically through facial expressions, head nods and foot taps, as well as musically, whether maximising the mellow tone of the trombone to create an aura of warmth, or accepting the gauntlet laid down by other soloists when trading two or four bar phrases. Joe Zawinul’s ‘Birdland’
featured some high octane soloing from various members within the band, bringing the performance – and the whole weekend – to end on a glorious high. Bring on November! Thanks to Melanie Paris at the NCEM for allowing YJS to be the official press for the weekend, for permitting the promotion of YJS Issue 2, and for supplying the photos of Simon Spillett, The Burden of Paradise, and Julian Joseph. Dennis Rollins photo © Leonie Taylor. Snake Davis photo © Richard Walker. Thanks to both Leo and Rich for allowing their photos to be used in this issue.
Julian Joseph
Snake Davis
Dennis Rollins
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Hold the Phone! Or should that be ‘bone? Either way, Dennis Rollins is on the line...
Those who have kept up to speed with the National Centre for Early Music’s concert series will know that York has been privileged to host two performances by Rollins in March and May. A musician who fuses popular styles such as funk, hip-hop and reggae to create a groove and danceoriented approach to jazz, his second appearance was as the special guest with student big band, Re:Impressions, and it is from this point that I [Anna Lacy] open my gambit.
Upon enquiring as to what attracted him to collaborating with the ensemble, Rollins confesses that he has known Re:Impressions leader, Dave Morecroft, for “quite some time” (a brave admission, it has to be said – only joking! N.B. Read Issue 2 of YJS for our interview with Dave prior to this gig – Ed.), and was keen to be involved with the band. When asked about his opinions of the group, he is nothing but complimentary, describing them as “a very accomplished group of young
musicians” who show “lots of energy, heart and respect for the music”, and praises them for their ability to “sound cohesive”, a quality which is apparently unusual to hear from university musicians. His enthusiasm continues as he expresses his enjoyment of the evening in general, and comments that “the audience reciprocated in a beautiful way; they really gave back to the band” – which, to be fair, wasn’t difficult, considering that the majority of spectators happened to be friends and
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fellow music students keen to show their support! We move on to discuss his earlier performance at the NCEM; this proved an important occasion for Rollins, for it was the grand unveiling of his latest project, the Velocity Trio, comprising of drums, organ, and trombone. Why that particular
combination? “It hasn’t been done before!” he tells me, explaining that organ trios of the sixties featured either a guitar or saxophone. He wants to put his own stamp on the format by bringing it into contemporary times, and expresses his delight that the audience was “open to some of the challenging compositions”, which will certainly boost the Trio’s development over the next few months. Aside from his success as a
“a very accomplished group of young musicians” who show “lots of heart and respect for the music” - Rollins on Re:Impressions performer, Rollins is also well known for his educational work, and it is to this that our conversation turns next. Rollins reveals that he has “worked extensively in York”, and was involved in a recent project run by the NCEM, where young students attended a year-long series of workshops covering composition, performance and jazz improvisation; by the end, the students had produced and performed their own composition. He cites his own experiences of working with older musicians whilst growing up as influential, both in terms of musicianship, and otherwise; he explains that they were “opening your eyes to something more than just performing music”, and highlights the impact of music-making as a social event, the experience of being part of a team which needs “to work together” in order to achieve something. In spite of the fact that jazz education has existed since the fifties, there has continued
to be a somewhat fraught relationship between the two fields, including the infamous long-running debate about whether it is actually possible to teach jazz or not; whilst we do not discuss the latter point, Rollins seems generally positive about the topic. He admits that the promotion of jazz in education could always be better, and that not all musicians are suited to be teachers, but emphasises the
advances which have been made since he himself was in school, particularly in terms of the depth that students are taught harmony, music history, and the use of technology, all of which allow young musicians to become so much “more accomplished”. Although I have only spoken with him from a short while, Rollins comes across as a grounded individual who possesses a great deal of
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humility; his own commitment to jazz education was celebrated last year at the 2008 Parliamentary Jazz Awards, and whilst conceding that it is “great to be recognised for what you do”, he is quick to praise the multitudes of teachers who are “out there doing fantastic work”, before adding: “I’m just glad that I can give back to something that has given so much to me”. In times as tricky as these, I thought it only appropriate to ask for his views on how the recession is affecting the jazz community. He considers the state of jazz in Yorkshire as “very healthy” – albeit in need of more exposure: “as in all things with jazz, everything needs support” – and highlights the hard work of Jazz Yorkshire, the NCEM, and the Doncaster Jazz Association, an organisation which promotes jazz to young students, and which Rollins
was himself involved with as a young person (and continues to support to this day). He goes on to reveal that musicians are finding it hard – indeed, I am shocked to hear that some are “finding it difficult to eat” – but that the current situation is encouraging them to raise their game, by demanding that they “get up, stand up, and be more creative” in order to secure vital work and contacts.
“get up, stand up, and be more creative.”
If the news reports are to be believed, times are going to get even tougher; but if musicians are determined to weather the storm, these times also have the potential to be highly creative. Whatever happens, keep listening out for Dennis Rollins – he doesn’t intend to sit back down anytime soon. Heartfelt thanks to Danielle for making this interview possible.
The Velocity Trio are booked to perform at the London Jazz Festival on 13th November 2009, so if you missed them this time around, make sure you don’t a second time! Keep up to date with Dennis Rollins’ projects: Official website: http://www.dennisrollins.com MySpace: http://www.myspace.com/den nisrollins
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Re:Impressions Charity Concert in aid of North Yorkshire Music Therapy Centre Tom Cameron I have a guilty admission: this was my first Re:Impressions experience, and I had no idea what to expect. Their last concert (and of the year) under leader Dave Morecroft (also pianist in the band), was to be my first experience of this student-run ensemble, which has risen to great success, playing in many concerts throughout the year, including a collaboration with world-famous trombonist Dennis Rollins. The concert was entirely free of charge, with donations going to support North Yorkshire Music Therapy. Yet, even with the bizarrely cool Jack Lyons Concert Hall (given the heatwave going on in the rest of York) packed, I was anxious of what to expect. However, as soon as the band began the technically sublime High
Maintenance (Gordon Goodwin), my doubts were quashed, and I settled in to what turned out to be a fantastic gig. This was only the beginning of a storming programme of swing, Latin and funk tunes, original compositions and arrangements by both Dave and Jonny Sims, the band continuing with Chick Corea's Latin masterpiece Spain, which was full of energy and featured a very impressive Latin percussion section. As things progressed, it became obvious that Dave and the band had really put their all in to make this gig a suitable showcase of the ensemble, with another great feature of the concert being the special
guests, namely Charlotte Ward-Caddle and Nick Ashby, who sang a brilliant duet of Baby It's Cold Outside during the second half. The musicians in the ensemble are fantastic – most are very active in the department’s own jazz community – and some very characteristic and fascinating solos were produced. I must end by saying it is a shame that Dave will be not be with us next year, as his fantastic role, not only as arranger, composer and conductor, but also as a pianist (there were some great solos!) truly shone through in this fantastic gig. I am sure he will be sorely missed.
Internationally renowned Cuban violinist Omar Puente performs at the York Jazz jam (Black Swan Inn, Peasholme Green) on 25th November. Only £3 entry, 20:45 start - can’t say fairer that that!
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WorldService Project: A Contemporary Jazz Ensemble Exhibition A Solo Project by Dave Morecroft The decision to base my solo project around WorldService Project (WSP), a quintet that first appeared (in a slightly different format) in September 2007, did not come through the normal route experienced by a York Music Student. True to form, the department drummed in the solo project from day one – your very own piece de resistance, the summary of your time at York; and as a first year, I remember looking around in reverence at the flourishing solo projects around at the time. The solo project is a fairly unique concept to York, largely because of the amount of freedom given to you. I recall moving through several different ideas of what to submit throughout my first and second year: running a jazz festival/venue in York, writing and recording a big band album, and recording some small group jazz with special guests were just three of the ideas, before finally resting on using WSP. This was unconventional, because it was a musical project that I was already working on outside of university, rather than being created specifically for the solo project.
My first challenge was to decide how to present the material in an effective manner. I had recordings, compositions, arrangements, reviews, publicity material, photos and live DVD footage of the band, and wanted to present this in a manner that would maximise the effect of each aspect. The idea of running an exhibition came from Jonathan Eato, and initially seemed impossible; however, the more I thought about the materials in my possession, the more I believed an exhibition to be the only way where the various aspects could be displayed in the way I desired. If I simply produced a portfolio, the viewer would be restricted by its linear nature, i.e. they would view the materials in the same order upon each visit; whereas running an exhibition would enable any visitor to move between the materials, and become involved with the physical space of the gallery. Fortunately, I was able to use the Roslyn Lyons Art Gallery in the Music Research Centre, under the kind supervision of Tony Myatt. So, I was set; the exhibition would run for the
The multimedia WSP exhibition included: a laptop featuring the band’s website (projected onto a screen, which is not pictured); a CD player to listen to the latest WSP EP; a television to watch live footage of the group; composition portfolio with accompanying commentary; display boards featuring articles, reviews, and photographs about the band.
entirety of the final week of second term, and involve nearly all of the materials mentioned above in some form or another. I obviously had most of the materials already, so the majority of my work during the second term was collating the materials and deciding how to display them. In addition, I also wrote some accompanying articles regarding my role within the band, and included a commentary for my most recent piece, Federici’s Bear. Upon reflection, I am pleased with how the project turned out; I feel that a visitor was able to gain insight into the workings of WSP, and that the exhibition gave credit to the ensemble, which I have put a lot of time and effort into. Future plans for the band include: the release of our second EP in August at the Vortex Jazz Club, and applying for Jazz Services Touring Support for our national tour in October, which in its current (still planning!) stage is visiting Nottingham, Leeds, Hull, Cardiff, York, Bournemouth and London.
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Tim Garland’s Lighthouse Trio - 18th June 2009, NCEM Joe Murgatroyd
Tim Garland (saxes and bass clarinet), Gwilym Simcock (piano) and Asaf Sirkis (percussion); all colossi of contemporary jazz, they collaborate as the Lighthouse Trio, the name derived from Garland‘s award winning Lighthouse Project which was recorded in, you guessed it, a lighthouse. Garland immediately establishes his fluid and virtuosic style with a ferocious bass clarinet cadenza, before the trio kicks into a dazzlingly intricate tune. One can already get a feel for the impeccable tightness of the trio, each completely aware of their own position amongst the other two, making for an impressive and promising opening. A darker, brooding tune called ‘Old Man Winter’ is next, based around a 10 beat rhythmic cycle introduced by Sirkis on his bass Udu (essentially a stylised pot with holes). The piece has an icy beauty about it, and this hinges on Simcock’s sensitive touch and masterful handling of the material. Sirkis features in the third tune, playing what is described by Garland as a ‘cross between a steel drum
and a wok’. This belies the sound it makes: an amazing airy pang that washes over the audience, to create a piece torn between dirt and delicacy. ‘Blue
in Green’ is introduced in homage as a welcome moment of contemplation amongst what has so far been a shred fest. The gestures of this subtle re-harmonised version are subtle and beautiful, and melt into the next tune, ‘Storm and Order’, which, after an almost chorale-esque start, bursts into a burning refrain. It’s all very impressive, but I can’t help but miss the space of Evans’/Davis’ classic, as the trio rage through what is another energetic tune. The second half continues the dark intrigue of the first, with ‘Black Elk’ recounting the collapse of native America. It is particularly poignant and moving, and I find myself in further awe at Simcock as he soars across the piano. This piece segues into the next, ‘Break in the Weather’, and I find myself somewhat tired with the pace; as much as I am enjoying myself, this particular stylistic trait has become a little much, and I find myself waiting for the next tune. However, Sirkis takes a solo
before this happens, and acts as a timely reminder as to how key he has been to the tightness and groove of the band. ‘The Eyes of Ages’ is exactly what I have been waiting for: a pensive and lyrical piece, complete with fitting solo from Garland. The Mingus classic ‘Nostalgia in Times Square’ finishes the set, but has been given a 5/4 twist by arranger Simock, and reinforces everything great about the trio; impeccably creative and virtuosic, the band make the most of this quirky and wild tune. The encore is inevitable, and to rapturous applause, Garland’s ‘Going Ashore’ rounds the evening off with gusto. An evening of intense musical prowess, this is one group you should definitely try to catch when you can.
Lighthouse Trio (l-r): Gwilym Simcock (pno), Tim Garland (reeds), Asaf Sirkis (perc.)
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Bigger and Better? YJS consults Michael Hailes about York Big Band Tell us how you became MD of York Big Band.
York Big Band was started many years ago by the legendary George Hudson, who was a very enterprising music student, and good at just setting up new stuff. When I first came to York, I auditioned for that on sax – ‘cause I was in a sax stage at that point [Michael is primarily a drummer, and is also able to play tenor sax, guitar and bass guitar, but admits to alternating phases between drums and sax] – and played that for a year. But George and the drummer at that time were in their final year, so when they left, the band wouldn’t have a drummer or a musical director. Whilst discussing what we were going to do, no one wanted to just be the music director by themselves, and I said that I was happy to play drums, and pointed out that I could probably count people in from the drums as well. So the others were like ‘alright, well you can just run it as well, then’, so I ended up in one flail swoop going from just playing sax to playing drums and musically directing as well. It’s been good fun; I’ve really enjoyed it. It’s been nice to buy new pieces and re-vamp the pads and do slightly different styles.
Could you describe the responsibilities involved in running the band? I run the rehearsals, so I decide what pieces we’re going to rehearse, get people to go over and practice stuff. I pick repertoire for concerts, set lists; and every now and again, if we get some money and decide we’re going to pick some music, I’ll make some suggestions of stuff to buy. We have a little committee and discuss it between us, but I generally suggest things. Is there anything that you’ve particularly enjoyed, or found particularly challenging in your tenure as MD? I’ve particularly enjoyed
getting the band to try playing new things. Although we still do classic big band stuff, there are now a few pieces that are maybe a bit more modern, more latin etc...What’s been hard?…Big band is definitely a very informal thing; it’s more about having fun than trying to be a serious big band, but at the same time, when we have concerts in somewhere like the [Sir] Jack Lyons [concert hall], it’s nice to be able to perform to the best of our ability. So, trying to balance rehearsals between making sure that people turn up and practice to get things sounding good, and at the same time trying to make it informal and fun [laughs] is quite hard work, and a bit challenging, but I think it’s gone alright.
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How would you describe your leadership style? My leadership style? …Oh dear…[shall we quote you on that? - Ed.] I don’t know; I just try to keep it fun and informal, and try to not be a dictator, asking people for their opinions, and discussing how we can make things better, rather than be like [changes voice] ‘you should do this, you should do this’…but at the same time trying to keep a grip. It’s a very large ensemble; in terms of big band jazz, does size matter? Well…there’s two issues with having it big: one is keeping the balance. If you have a million trumpets then they’re obviously going to drown out the saxes. Ideally you have one [person] to a part, which automatically makes the sound a lot tighter, and when you’ve got lots of people, you do sacrifice that a bit…which would be a problem, if we were trying to be a really serious ensemble – not that we’re trying to be bad – but that’s not the primary focus, so it’s not so much of an issue. Tell us about the atmosphere within the group; what it like? It’s very friendly; we always go out to the bar after rehearsals – we probably spend more time in the bar than we do in rehearsals! –
everyone gets on with each other very well; it’s generally good fun. What would you say has been your favourite, or most memorable, gig to date? We had two gigs in a row in the National Railway Museum, which was quite bizarre, because two groups of people had asked us to play at balls that they were having in there. There’s a section of the museum which is set out like a big station, and the big band was set up amongst all these trains in the railway museum. That was quite entertaining [laughs].
“I think that York Big Band appeals to people who enjoy playing their instruments as a hobby and would like to be able to keep it up at uni” What makes the band different from the other big bands in the university? I think York Big Band appeals to people who enjoy playing their instrument as a hobby, and would like to be able to keep it up at uni – well, we have some music students who come and play, which is brilliant – but for people who aren’t music students, and
would just like to play. In terms of the stuff that we play, obviously Jazz Orchestra does the modern, quite experimental stuff, and Re:Impressions do more Latin and funky stuff; so I think it’s pretty fair to say that we’re the only ones who focus on the older, classic big band stuff. Are you still going to be leading next year? Only by default! [laughs] Nobody else has stepped up to do it. I would dearly love for someone else to do it, because I’m going to be very busy next year. The problem with drumming or musical directing is that you can’t really get away with not turning up one week if you’ve got a lot of work on! I’m hoping to maybe pass on both of them, and go back into having a saxophone phase, which would be mean that I could not go when work gets too busy. SO, in conclusion, I’m hoping that either one of the existing members, or a fresher will come along, who either plays drums or wants to MD, or maybe both. Interviewed by Anna Lacy. Photograph © Sally Wilson.
Interested in joining York Big Band, or keeping up to date with its activities? It couldn’t be more simple! Just send an email to: yorkbigband@gmail.com
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Way Out Northwest Matt Postle Though geographically placed on the west coast of the US, Seattle seems to have failed the genre of ‘West-Coast Jazz’. Instead, artists such as Jimi Hendrix and Quincy Jones hail from Seattle, and even Florida native Ray Charles spent a considerable amount of time there honing his craft. It is a city of many genres, from the most traditional, to avant-garde and experimental jazz. At present, leading jazz artists such as Bill Frisell and Cuong Vu reside in the Emerald City. Much of the local jazz scene revolves around Earshot Jazz, Seattle’s own jazz society.
Formed in 1984, it not only hosts a world-class two-week jazz festival each autumn, but also sponsors northwest artists throughout the year in several different series. Along with concerts throughout the year, Earshot runs educational programmes, publishes a monthly newsletter, assists jazz artists, and networks with jazz communities across the country and the world. As for jazz clubs, the big gun in Seattle is Dimitriou’s Jazz Alley, a medium-sized club that hosts internationally acclaimed jazz artists on a nightly basis (most ensembles
perform a 3-4 night residency). But Seattle has so much more to offer for local flavour, with Tula’s Jazz Club and Egan’s Ballard Jam House showcasing regional artists seven nights a week. Opened in 2002, the Triple Door has also quickly become an exciting venue for the jazz fan, whilst Gallery 1412 draws in avant-garde and experimental artists from across the US. Even the Seattle Symphony’s home, Benaroya Hall, has an ongoing jazz series throughout the year.
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But Seattle isn’t just for the listener; jazz education is, and has, been thriving through various high school programs. Amongst the best in the US are Garfield and Roosevelt High Schools, which continually produce award-winning ensembles; in the past nine years, the two high schools have taken home top awards from the Jazz at Lincoln Center’s annual Essential Ellington Competition. Garfield was placed first in 2003 and 2004, second in 2002, and third in 2005 and 2006. Roosevelt High School earned first place in 2002, 2007, and 2008, second in 2005 and 2001, and third place in 2000. Along with other strong high school music programs in the Seattle area, jazz is thriving. For those looking to purchase hard to find LPs, CDs, and
located in a quirky area of Seattle called Pioneer Square and houses over 85,000 jazz recordings. It is one of only a few independent jazz record shops in the entire US.
Interior of Dimitriou’s Jazz Alley even tapes, Downbeat Jazz Magazine has named Bud’s Jazz Record Shop one of the best jazz record stores in the country. Opened in 1982 by Bud Young, the record store is
Although Seattle might have claimed its most recent musical fame through bands such as Nirvana, Soundgarden, Pearl Jam, and the Dave Matthews Band, one cannot look past the importance that jazz holds in the city. Not only hosting major international artists, Seattle shows that it supports the music at all levels and forms. If you are a fan of this music, you’ll definitely feel right at home in Seattle. To find out more about Dimitriou’s Jazz Alley: http://jazzalley.com
Your YJS
Why not write for YJS ? Articles, interviews, reviews, bios, adverts, tributes, analyses, shout outs… if it’s jazz-related, we want to know! Musicians, venue owners, promoters, fans - YJS is dedicated to YOU, the jazz community, so support live jazz in York and get involved! Got something to say? Then email: yorkjazzscene@googlemail.com
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Three is Not a Crowd - e.s.t. Tribute Gig, 21st June, Black Swan Inn Katie Saunders
Many people believe that fairies dance at midnight on midsummer's eve. Rather than stay up to check if this is indeed true, I spent the eve at The Black Swan Inn. This was a tribute gig to the late Esbjorn Svensson, who tragically died in a diving accident in June last year, aged just 44. For those not familiar with Svensson's work, he is widely credited with developing the piano jazz trio to a new level and bringing a new audience to both their music and the genre itself. Having become an admirer of his work only recently, and therefore sadly unable to have had the opportunity to experience the trio's music first hand, I was looking forward to hearing
the interpretations of Martin Williams (keys), Gareth Taitt (bass) and Dave Smyth (drums). But first, we were treated to a selection of guitar and trumpet arrangements of jazz standards, including a brooding 'My Favourite Things', with impressive trumpet improvisations from Richard Blake (lending from John Coltrane's interpretation), and a laid back, swinging 'Girl from Ipanema', which allowed Tom Adams’ guitar creativity to shine. The tribute was approached sensitively, with highlights being the intensely romantic 'Beneath, Beleft, Below' and the hypnotic
'Seven Days of Falling', from the album of the same name. Futhermore, the energising 'mingling in the mixing machine' and tension captured in 'when god created the coffee break' demonstrated beautifully shaped improvisations from all. A moment of comedy was also shared with the announcement from trio's spokesman, Smyth, that the group's mash-up of 'Tuesday Wonderland' and 'Spunky Sprawl' was labelled 'Tuesday Spunky-land'! Overall, a fitting tribute to an extraordinary talent (and not a dancing fairy in sight!).
Head to City Screen Basement Bar on 7th September for a triptych of jazz: Shame & Guilt, Eyes Tight Shut, and the Simon Lyszk Quartet are scheduled to perform. Music starts at 20:30, only ÂŁ4 entry!
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Esbjörn Svensson 1964 - 2008 Martin Williams
“Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity.” Charles Mingus’ ideas of jazz have not been more soundly replicated than by Esbjörn Svensson. Known for his catchy melodies, relentless bass lines and poignant compositions, Svensson was undoubtedly one of the greatest and most important jazz musicians of our generation. Born in 1964, he was trained in both jazz and classical music, and studied at the Royal College of Music in Stockholm. In 1993 he formed the Esbjörn Svensson Trio (E.S.T.) with percussionist Magnus Öström and bassist Dan Berglund. They quickly achieved popular and critical acclaim, becoming one of Europe’s most successful jazz groups. The influence of classical music, and particularly Bach, was present from his early recordings, such as the 1996
album Kara Du, and it was this ability to fuse elements of different musical genres that made his compositions unique. In later albums like Good Morning Susie Soho and Seven Days of Falling there are echoes of Bach, Thelonious Monk, garage and funk music, whilst keeping a distinctive Scandinavian taste. And yet his music was not just a mere concoction of different styles, but an original style of its own. E.S.T. complimented his composition style because the musicians each had their own unique approach to performing: whilst Svensson was always very classically driven, Öström’s more ‘jazzy’ drumming is detailed and delicate, and Berglund has admitted a desire to be a rock bassist at one point. Svensson’s powerful left hand made light of the often ruthless bass lines he wrote. Indeed, his heavy use of bass lines and motifs helped to break away from traditional piano trio arrangements and give E.S.T. a unique sound. For example, it was common for Svensson to play a repetitive bass line on the piano, whilst Berglund played very high-pitched melodies on the bass. Svensson’s music was intelligent and complex, but
contained all the elements of popular music to gain mainstream recognition. E.S.T.’s music entered the jazz and pop charts; the trio toured the US, Europe and Japan, often playing in rock venues. When Esbjörn Svensson died in June last year, a huge gap was left in the world of contemporary jazz and beyond. He suffered an accident whilst scuba diving in Sweden and died aged just 44. His music influenced a generation of musicians and provided a crucial step in the evolution of jazz. It is thought he would have likely worked on a solo album during the next few years. For those not familiar with Svensson’s work, the album Good Morning Susie Soho is a good place to start. It is thoughtful but quirky and seamlessly mixes some interesting use of electronics with the trio. Tracks like ‘Pavane’ show Svensson’s gift for writing truly poignant melodies, while others like the title track and ‘Spam-Boo-Limbo’ are more light and fun, but avoid being at all ‘showy’. Other E.S.T highlights include the epic ‘When God Created the Coffee Break’, ‘Believe, Beleft, Belo’, ‘Definition of a Dog’ and ‘Spunky Sprawl’.
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A Year in the Bosch Jonathan Eato Reflecting on my year as a visiting researcher at the Konservatorium in Stellenbosch, I find myself noticing a curiously circular pattern to my musical enquiries. Having travelled to the other side of the planet to investigate a music that I knew precious little about, I was surprised – yet delighted – to find that I was learning how to ask questions relating to a music with which I am much more familiar. That these questions have eluded me for the past twenty years is either a measure of their complexity, or my intellectual sluggishness. Perhaps I should explain? The majority of my time last year was focused on studying various aspects of performance practice in jazz music, as it is played in South Africa. What you are unlikely to know is that in the late 1980s, as a student in Leicestershire, South Africa featured in my consciousness as a result of four phenomena. Two of these were pieces of music; I knew of the Special AKA’s (1) 1984 top ten UK hit ‘Free Nelson Mandela’, and a bit later on I became aware of Peter Gabriel’s 1980 song ‘Biko’. The other two were what I probably regarded as parental eccentricities; I knew that if I bought Cape apples from our local grocers my mother
would be nonplussed, and I was aware that I could elicit dark mutterings about rebel cricket tours by asking my father why Peter Willey, Leicestershire’s star all-rounder, didn’t play for England. Had you asked me to explain any of these phenomena at the time, I’m not sure that I could have obliged. And if we consider a fifth phenomenon – which back then I would have considered completely unconnected – I also couldn’t have told you why various UK jazz musicians from the celebrated London based jazz ensemble Loose Tubes, when they visited my school, sounded quite different to the recordings of U.S. jazz musicians that I was buying in the shops and hearing on the radio. They sounded neither better, nor worse, but they did very definitely sound different. My inability to explain the first four phenomena above were a simple combination of a-political youthful ignorance and the various specificities of living on the other side of the planet (not that that’s an excuse). However, my lack of understanding regarding the Loose Tubes musicians is rather more interesting to unpick, musicologically speaking at least.
Perhaps I was a bit slow on the uptake? But, despite registering some obvious tributes to South African musicians and culture (2), and the involvement of UK musicians in projects featuring South African musicians (3), it never really dawned on me at school that the ‘difference’ I heard may be due to a very real connection with the music of South Africa, and much more deeply rooted in the actual music than many musical tributes or ideological alliances often are (4). But then, as you’ll have probably guessed from the admissions above, as a school student, I didn’t know much about anything, including the exiled community of South African musicians in London. Still, despite my inarticulacy, it’s curious how these experiences and nascent thoughts stayed with me. Moving to London for an undergraduate degree at Goldsmiths College several years later at least opened up the world of record stores to me – such was my dependence in those pre-internet days! At the time, Ray’s Jazz Shop on Shaftesbury Avenue proved a treasure trove, where it was finally possible to find out who this Dudu Pukwana guy was, what all the fuss was about, and (even!) what his music sounded like. I still
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Have my double LP of Blue Notes For Mongezi, and remember being dismayed by (what I heard) as the chaotic nature of the music, whilst at the same time being drawn to something else in the band’s sound. And yet the penny didn’t even drop when I chose, unwisely, to write an essay for my second year undergraduate contemporary music course on a track from Loose Tubes’ Open Letter. I can’t remember the track in question – perhaps it was ‘Accepting Suites from Strangers’ – but one friend still frequently teases me about my attempts to analyse the music in terms of ‘groove’ and ‘non-groove’. In case you’re wondering, no, my lecturer didn’t much like my essay. If only I’d read Maxine McGregor’s Chris McGregor and the Brotherhood of Breath, as I did last year. I may then have realised the influence that Chris McGregor’s compositional concerns had had on young British musicians such as Julian Argüelles, Eddie Parker and Django Bates, especially regarding the balance in a large ensemble between the composed and the improvised, the ‘in time’ and the ‘in free time’. From this remove, I’d be interested to know – perhaps I should have asked! – how a student with an interest in Chris McGregor and Dudu Pukwana would have been regarded at
‘it never really dawned on me at school that the ‘difference’ I heard may be due to a very real connection with the music of South Africa, and much more deeply rooted in the actual music than many musical tributes’ are’ Stellenbosch in 1991? (5) I suspect that, whatever the political climate dictated at that time, there was probably more musical common ground than might be/might have been realized at the time: ‘The professors [at the South African College of Music] were very interesting, notably Arnold van Wyk, a man from an Afrikaner background, one of the most valuable contemporary South African composers to whom I owe a lot. He was someone who had a great deal of difficulty in his own social situation, being a typical liberal Cape Afrikaner, very unlike the hardline Transvaalers. He composed a song cycle on the poems of Eugene Marais, I think, and a symphony, all in a very original style reminiscent of British composers of the ‘30s and ‘40s, Howard Ferguson, people like that. He had great taste. He was a bit aristocratic, very intelligent, and from him I learned a great deal, especially in composition. At this time I was deeply into it:
composition, harmony, counterpoint, history of music up to Orlando di Lassus, Renaissance music, Gregorian chant, Middle Ages Catholic church music and so on, although I preferred the practical studies I must say. But I was a model student for a while, and quite the professors’ pet.’ (Chris McGregor in Maxine McGregor, pg.6) It is worth quoting Chris McGregor at length here, not only because it’s interesting, because the book is difficult to get hold of, or even because there is a van Wyk fan base in certain corners of the Konservatorium at Stellenbosch. No, I cite McGregor here, as it brings me to the question of being simultaneously a jazz peg in a classical hole and a classical peg in a jazz hole. (Perhaps not the most elegant adaptation of that particular idiom, but I’ll stick with it…) This was the case for me at school; it was the case formally, albeit to a lesser extent, as an undergraduate at Goldsmiths in the early ‘90s; and also as a postgraduate in York during the naughties. And judging from the reaction of most people in South Africa it would, they thought, be the case for me at Stellenbosch last year. I can describe myself as primarily neither a composer, a performer, nor a musicologist; as mainly interested in jazz music or
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‘The sense of possibility in South Africa is tangible, breathtaking and remarkably stimulating. The degree of fragmentation is, in some circumstances, truly terrifying; and in others, a breath of fresh air and a unifying factor.’ western art music. There may be resonances here with Chris McGregor’s experiences, although when compared with my own, they are amplified out of all proportion (in every sense). But rather than compare myself with McGregor, the point is to open up a train of thought that goes some way towards describing my year in Stellenbosch. The sense of possibility in South Africa is tangible, breathtaking and remarkably stimulating. The degree of fragmentation is, in some circumstances, truly terrifying; and in others, a breath of fresh air and a unifying factor. This is inevitably the view of an outsider, and it may be flawed, but is the closest I can get to explaining why I felt so nourished and at home with the ideas that I was able to engage with and the people that I met. If Chris McGregor can dig Arnold van Wyk, then maybe it’s not so strange that I can be in South Africa and immerse myself in the jazz scene whilst writing western art music at the Konserve. In
fact, if Anwar Gambeno can coach his choir to win the first prize in their section with the Nederlandse Lied ‘Treade Jongsman’, write the combined chorus ‘Kom Staan’ based on the music of Puccini, and perform a medley of Beatles songs with his Klopse, then maybe I can also do some composition and some musicology? If Lara Allen can find traces of Scottishness in South African kwela (6), and Jannie van Tonder can make the observation that the rhythmic language in performance of jazz in South Africa and boeremusiek have certain commonalities (7), then maybe it’s a good thing to be a jazz peg in a classical whole, at the same time as being a classical peg in a jazz whole. [sic] How else can one hope to make sense of music in South Africa – both my own and other people’s? Given all this, perhaps I shouldn’t have been so surprised that, when working on jazz performance practice in South Africa, I found one of the more relevant and exciting articles I came across to be by John Potter on the history of portamento in western art music. (8) Similarly, I daresay that it isn’t all that surprising to find that my year of research brought me closer to understanding the observations that I made of the Loose Tubes musicians as a teenager in the UK in the late 1980s.
As I started off by noting, it is curious how circular and interconnected seemingly disparate episodes in life can be, and how the fragmentation of ideas and people can be both a cause for celebration and commiseration. This is a state of affairs that Jean-François Bayart writes magnificently on in ‘The Illusion of Cultural Identity’ (9), which is essential reading for anyone bewildered by the alleged polarities of difference and similarity, authenticity and syncretism, or tradition and innovation. However, not everything in my Stellenbosch year proved so delightfully circular. Leaving South Africa at the end of September to return to the UK at the beginning of October was a miscalculation of the highest order. Two winters back to back is a tough price to pay for… well, for practically anything. But then you’d think I’d be used to that, especially considering the wise words I often heard attributed to South African cricketer Basil D’Oliviera: “the trouble with England is that you get six months of awful weather, and then it’s winter.”
The South African flag.
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References: (1) The Special AKA were previously, and more famously, known as The Specials. (2) See Dave DeFries’ composition ‘Open Letter To Dudu Pukwana’ on Loose Tubes’ album Open Letter) . (3) See the Dedication Orchestra’s album Ixesha featuring Louis Moholo for example. (4) For example, the Special AKA’s ‘Free Nelson Mandela’ owes more to Jamaican ska than anything else, and despite references to ‘tribal rhythms’ in commentaries on Gabriel’s ‘Biko’ the bass drum pattern is one of many variations found in 80s rock grooves. (5) The main degree programmes at Stellenbosch are, even now, notable for their complete absence of jazz music. However the point here is that for most of the second half of the twentieth century Stellenbosch was a bastion of white Afrikaner nationalism and was therefore, correctly or incorrectly, thought of as a citadel of apartheid thinking. (6) Allen, L. 2005. 'Circuits of Recognition and Desire in the Evolution of Black South African Popular Music: The Career of the Penny Whistle', South African Journal of Musicology, 25, pp. 31-51. (7) Interview with author 27 July 2008. Additionally I’d argue that it’s significant that such an understanding can be arrived at by a musician who has played with, amongst others, the African Jazz Pioneers, members of the Voëlvry movement and ‘peoples poet’ Mzwakhe Mbuli. (8) Potter, J. 2006. 'Beggar at the Door: The Rise and Fall of Portamento in Singing', Music and Letters, 87, pp. 523-50
University of York Jazz Orchestra - 12th June, Sir Jack Lyons Concert Hall Becky Thumpston The Sir Jack Lyons Concert Hall came alive on 12 June when the University of York Jazz Orchestra presented their summer concert of South African Jazz. The concert was split into three sets, with The Jazz Collective sandwiched between two Jazz Orchestra sets directed by Dr. Jonathan Eato. From the hugely energetic rhythms of the opening number, Jannie van Tonder’s ‘Nonto Sangoma’, to the closing encore, ‘10 10 Special’, the group wowed the audience with the vitality of their playing. The concert featured works by a diverse range of South African musicians including Dave Ledbetter, Douglas Armstrong, Bheki Mseleku and Abdullah Ibrahim. Complementing the dynamism and energy of the orchestra’s playing were special guests Chris Batchelor on trumpet and Martin France on drums. Members of the 1980s 21-piece co-operative jazz band Loose Tubes, Batchelor and France were an exciting addition to the evening; they raised the game of the Jazz Orchestra, and no doubt inspired the great solos
from Matt Postle, Richard Blake, Joe Murgatroyd, Dave Morecroft and Vanessa McWilliam. Following the opening set, the smaller forces of The Jazz Collective contrasted well. The group played with a real sense of ensemble and provided a platform for some brilliant solos from Chris Batchelor. The highlight of the night came with the opening of the third and final set, with ‘MRA’ by Dudu Pukwana and ‘Msunduza’ by Abdullah Ibrahim, arranged by Matt Postle. These more groovebased works were performed with massive amounts of energy, driven by Simon Roth on drums. Looking around, the band clearly captured the audience’s imagination, helped by projections of images of South African jazz musicians. While not a jazz aficionado – in fact, very much the opposite – it was a great night, which introduced me to the distinctive foot-tapping rhythms and powerfully expressive melodies of the South African jazz sound-world.
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In the Zone YJS gets into the groove with Julian Argüelles and Chris Batchelor In June, the University of York Jazz Orchestra went back to Africa – South Africa, to be precise. It was not the easiest of journeys; all those years of training did not prepare anyone for the criticism of playing ‘too nicely’ and not nearly ‘nasty’ enough! The day before the gig, YJS met with trumpeter Chris Batchelor and saxophonist Julian Argüelles, (both former members of Loose Tubes ) to find out about their own experiences of South African jazz, and the musicians who created it. When asked about their personal experiences with South African jazz, each man has his own story to tell. Chris underwent a “baptism of fire” at the age of seventeen when Harry Beckett, who was playing with Dudu Pukwana’s band Zila at the time, doublebooked himself for a gig, and recommended Chris to take his place, which he did…and ended up staying for six months! “There weren’t many things written down”, he explains, “Dudu would play the parts to you individually, you’d play it back to him until you’d got it, then he’d move on to the next guy. And then on the gig he’d start playing it in another key, so you’d have to figure it out!” Julian
reveals that there was a large South African community in London during the eighties, particularly around the middle of the decade, and whilst he played with a number of musicians from the country, it was with Chris McGregor in Brotherhood of Breath (in which Batchelor also played for a time) that he feels he had his “strongest musical experiences” because the music “really spoke” to him. Although the eighties are more famously known in the Western world for overtly stylised pop music, synthesisers, drum machines, bad hair and the rise of the music video, for ‘black’ South Africans suffering under apartheid, the decade held far more dark and painful memories, and the racial tensions in Britain should not be forgotten either. Given this context, did performing in multi-ethnic line-ups have a particular impact or significance at the time? “Chris never really talked about the problems in South Africa” says Julian. “I’m not saying that it wasn’t an issue with him – I didn’t know him well enough – but it wasn’t like an allconsuming problem with him as a creative musician […] it didn’t seem like an ongoing topic of disappointment or bitterness.” “I don’t think any
of those guys made any difference about where they were from, or what colour anyone was,” affirms Chris. “The whole scene was very mixed. It was the same in Zila; there was never any sense of division at all.” The South African dimension of jazz is not one which has been highly publicised over the years, and it is fair to say that from the opening number of the Jazz Orchestra performance, audience members were surprised to not be presented with ‘regular’ jazz repertoire. Both men are clear that there is a distinctive
“I’m not saying that [apartheid] wasn’t an issue […] but it wasn’t like an all-consuming problem with him [McGregor] as a creative musician.”
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South African ‘sound’, and descriptive words such as “exuberant”, “energetic”, and “playful” come thick and fast. Yet, as this thread develops, things do not prove entirely clear-cut. “I think there’s a certain thing about sound, particularly the sound of the horn players,” states Chris. “I think I could probably recognise South African horn players in any situation, but I can’t describe it in words.” So what is the place of South African in the world of jazz? Julian explains that due to the size of the South African community, the musicians were an integral part of the scene and had a direct influence on his generation; however, since then many have died or repatriated, and the patchy and sometimes questionable quality of documentation (in terms of recording equipment and timing of the sessions) has prevented younger players from being exposed to their music. Both men are quick to point out that there are overlaps and connections: “Look at the early Brotherhood of Breath records,” Chris remarks. “The sound is as much about Evan Parker and John Surman, Mike Osborne, as any of the South African guys. A number of the South Africans, like Dudu and Mongezi, got massively into free playing, free improvisation, which I don’t think had made it to South Africa […] It was a very hybrid kind-of thing, really.” Upon considering how
“The improvising took first spot […] In Brotherhood of Breath, in sixties Miles, it’s all about the improvising, so that’s why it had to be able to go anywhere.”
working with South African musicians has affected their musicianship, Julian concludes that he has taken most from the collision of colours and sounds: “One minute the music would be really energetic, quite dark or angular, and have a real ‘bite’ to it, and the next minute there’d be this beautiful groove, or some beautiful melody […] The palette of colours and sounds is quite broad, and I really like that.” Oppositional ideas prove key to Chris’ answer as well, as he compares the traditional diatonicism and interlocking rhythmic grooves common to much South African music with periods of “free blowing”. Turning to Julian, he continues: “The improvising took first spot, didn’t it? In Brotherhood of Breath, in sixties Miles, it’s all about the improvising, so that’s why it had to be able to go anywhere.” Julian agrees, and expands further: “You’d just explore a certain ‘zone’ for a while, then you’d got to another zone, and you’d be in
that zone for a bit.” Chris goes on to explain that his initial experience of playing with Dudu “opened up” his musical horizons outside of “changes jazz” (as he put it), and his musical CV includes performing in a Congalese band, recording with a Moroccan raī musician (raī is North African dance music), and, most recently, forming a band with other members of Zila to play through Pukwana’s material, for which he was transcribing and arranging at the time. Even if Julian did not take everything on board which he got from McGregor, the memories for him are no less durable. “In European or ‘classical’ music, we rehearse and get things together for the concert; that’s what everything leads to. But with him [McGregor], it seemed like there was a whole process which was really important; so we’d rehearse in a certain way, it was really sociable, people were really relaxed, and it was a very different thing. It’s quite courageous, the way he did it;
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“It’s quite courageous, the way he did it; he really let people express themselves in any way they wanted. He was very un-domineering and un-controlling” he really let people express themselves in any way they wanted. He was very un-domineering and un-controlling, and I would like to have taken that on board a little more than I have done, because I wouldn’t say that I am like that.” The enthusiasm that the pair hold for the music extends to the Jazz Orchestra gig itself. “I think it’s absolutely fantastic. That music really needs to be heard, and deserves to be heard,” asserts Julian. “It’s not available” Chris explains to me. “You can’t get charts, you can’t get the records very easily. Some stuff has been reissued recently, but it’s still pretty
secret”. “It’s unfortunate,” continues Julian, “because a lot of people could really dig it, particularly musicians who really care about improvisation […] its natural home is the live performance. There’s a certain energy that you can’t – ” “always translate to record” finishes Chris, evidently on the same wavelength. As our special
guest, Chris has specific sentiments about the performance: “A couple of people like Julian, Django [Bates] and I, we were exposed to something that is quite precious, and you hope that you can pass some of those things on. I’m not in any way an expert, but you get a little glimpse of something.” As of June, the secret’s out; make sure you pass it on.
Interviewed by Anna Lacy.
“You can’t get charts, you can’t get the records very easily […] it’s still pretty secret.”
Keep up to date with Julian and Chris’ activities: Julian’s official website: http://www.julianarguelles.com (join the mailing list!) Big Air (group formed by Chris and Steve Buckley, with Myra Melford, Jim Black and Oren Marshall): http://www.babellabel.co.uk
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Chris McGregor: From Bebop to Free Gareth Taitt Chris McGregor, a South African born pianist and composer, was one of the first South African musicians to seek refuge in Western Europe, having left the country in 1964 with his band The Blue Notes. Here the band made their homes, moving through Zürich, Geneva, Copenhagen, and finally settling in London before going their separate ways. The development of Chris McGregor as a musician and composer is an interesting one; while many of his South African counterparts remained, to a certain extent, unmoved by the whole ‘free’ revolution in jazz throughout the 1960s, McGregor – and indeed, all of the members of The Blue Notes who came to Europe – took much inspiration from it. Township Bop, the only released album by The Blue Notes, is an accurate representation of McGregor’s output at the time it was recorded (1964), and also demonstrates the style of jazz prevalent in South Africa at the
time. Taking a strong influence from Duke Ellington, Thelonious Monk and Charlie Parker, McGregor composed music which contained elements of bebop and hard-bop. Indeed, if you examine Figure 1, the importance of syncopation, as well as a fast-moving melody and chord sequence legitimates such comparisons. This style formed the basis of McGregor’s beginnings as a composer and musician. In some ways this is strange, as you would expect his African roots to emerge from somewhere, instead of emulating an American style. However, in other ways this is fairly unsurprising. In a recent interview, Julian Argüelles explained the path which many jazz musicians take in their quest to find their own voice and style; he proposed that ‘quite often the first period is a period of imitation, where people imitate the music they really love’, which is certainly true for the majority of jazz
musicians, who learn through transcribing solos and listening to the music of their favourite musicians. It is also evident in McGregor’s arrangement of Dollar Brand’s ‘Eclipse at Dawn’, which he arranged for the Castle Lager Big Band in 1963. If you compare the recording from The African Sound to one of Ellington’s, obvious comparisons can be drawn in the arrangements, particularly in the way he utilises the sound of the reed instruments. Leonard Weinrich described McGregor’s music at this time as ‘some of the most expressive music I have ever heard. He cross-fertilised the talents of Kippie [Moeketsi], Morris Goldbery, saxophonist Cup ‘n’ Saucer, trumpeter Banzi Bangani and conjured ecstatic sounds from soloists and ensembles.’ During a trip to Copenhagen, McGregor met musicians such as Albert Ayler, Archie Shepp and Don Cherry, all pioneers of the burgeoning free-jazz movement. The most important
Figure 1 – transcription of the melody of Coming Home by the Blue Notes.
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of these to McGregor was Ayler, whose music with its ‘muscular relationships would obviously appeal to somebody orientated to African music which is so much a dance.’ This was the beginning of the new direction that McGregor’s music began to take, where he began to fuse this freer idea with strong African rhythms. The 1968 album, Very Urgent, the first which he recorded outside of South Africa, featured a very large proportion of free improvisation. It even featured some tunes, such as the track ‘Heart’s Vibrations’, which are wholly free. After this brief period of experimentation, McGregor started to use rhythmic and melodic patterns for the basis of his free improvisations. ‘Church Mouse’ (from the album Our Prayer) features a very strong melody, acting as a ‘head’ in the traditional jazz sense of the word. This melody, accompanied by a repeating rhythmic pattern on the drums, puts emphasis on the fourth beat of each bar, and creates a springboard
from which McGregor’s very free solo can launch from. Although the bass does not keep playing the melodic pattern, it does keep a good sense of time, which is reinforced by the drums’ repeated (and slightly varied) rhythmic pattern, maintaining the emphasis on the fourth beat. ‘Up
To Earth’ is much freer in the development of the free improvisation. It does not keep a regular drumming pattern throughout, but does stay within the realms of a ‘swing’ pattern, which is reinforced by the walking bass for the most part. However, what does link the free improvisation and give it a sense of structure is the repetition of the motif shown in Figure 2. The motif, which forms the basic idea for the ‘head’, creates a start point for McGregor’s free solo. More interestingly, it also forms the basis for a collective improvisation at the end of the piece (ca. 6’20” – end).
However, it was not until the first Brotherhood of Breath album (entitled Chris McGregor and the Brotherhood of Breath) that McGregor’s vision was truly realised on a large scale. The variety of compositions in the album itself is as far reaching as the influences within each individual track. ‘MRA’ is a composed set of interlocking grooves, with no improvisation whatsoever. The second track, ‘Davashe’s Dream’ (composed by Mackay Davashe) is an almost concerto-like showcase of Dudu Pukwana’s talents as an improviser. This is placed next to the highly changed and rhythmic ‘The Bride’ and ‘Andromeda’, both of which feature a great deal of influence from the South African rhythms. ‘The Bride’s basic bass riff (shown in Figure 3) is a fantastic example of how Pukwana can compose dance-like melodies and grooves, paying homage to his South African roots with the use of the djembe rhythm.
Figure 2 – Transcription of the motif from the beginning of ‘Up to Earth’.
Figure 3 – Transcription of the Bass groove from the beginning of The Bride
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The final two tracks, ‘Night Poem’ and ‘Union Special’, are somewhat different; the former is a twenty minute free improvisation underpinned by a rhythmic figure which reappears as an almost chant-like ostinato (see Figure 4,) and the latter a brass march which shows the Dutch military influence on South African music.
McGregor developed his own unique style of composition, taking influences from a vast plethora of cultures and styles, and fusing them together to create an almost eclectic mix of music. However, this collection of compositions demonstrates a fusion between two unrelated things, functioning in such a way as to fully explore the possibilities of both, and to portray them in their strongest, most powerful and emotional form.
Suggested Reading/Listening: The Blue Notes. Township Jazz, (1964). Download from iTunes. Chris McGregor and the Brotherhood of Breath. Chris McGregor and the Brotherhood of Breath, (1971). Download from iTunes. The Chris McGregor Group. Very Urgent, (1968). Download from iTunes. The Chris McGregor Septet. Up to Earth, (2008). Download from iTunes.
Figure 4 – Transcription of the motif which appears throughout Night Poem
The Chris McGregor Trio. Our Prayer, (2008). Download from iTunes. McGregor, Maxine. Chris McGregor and the Brotherhood of Breath: My Life with a South African Jazz Pioneer. Flint, MI: Bamberger Books, 1995.
If Destroyed Still True, The Hitmen and Six Pieces of Silver (i.e. 5 Pieces of Silver with special guest Louise Gibbs) are all performing at the Marsden Jazz Festival on Saturday 10th October
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Blowing Our Own Horn Don’t just take our word for it read what other people have to say about YJS
“What a fantastic publication” - Nigel Slee (Jazz Yorkshire comment posted on issuu.com site) “...a truly comprehensive and totally interesting magazine to reflect all the goings-on in York.” - Ron Burnett (musician; via email) “I enjoyed the articles: they were not exclusive to musicians […] It made me feel inspired to go and listen to jazz!” - Paula Brooks (student; via Facebook) “Wow.... I am VERY impressed! It looks really good!! - Keep me subscribed!” - Rhys Phillips (musician; via email) “So much new information about the local events and artists. Just what we need!” (comment posted on issuu.com site by a user who goes by the name of Annafan - N.B. It’s not me! - Ed.) “I sent a copy to my husband who loves jazz and plays it a bit (trombone) and would like to know what is going on. I think this is marvellous!” - Jenny Doctor (university lecturer; via email)
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Ones to Watch After their stunning debut at the York Jazz jam at the end of July, YJS is very excited to introduce... Name: Tom McCredie Age: 18 Instrument: Double-bass Occupation: Student - Birmingham Conservatoire, Jazz Performance Most treasured/significant jazz-related experience to date: On my 18th birthday, I went to London to watch the Brad Mehldau Trio. Larry Grendier is in it, who is one of my favourite bass players. I hope to see them again whenever I get the chance. Also, I have been lucky enough to see a Keith Jarrett Solo concert, which inspired me just as much as the Brad Mehldau Trio did - even though there was no bassist! What did you think of the York Jazz jam session? It was a great experience and I liked the atmosphere. Jam sessions are always good fun and this one surprised me as to how friendly and enthusiastic the house band and audience were. I definitely plan to go again. Name: Matt Robinson Age: 19 Instrument: Piano Occupation: Student - Royal Academy of Music, Jazz Piano (his tutor is Tow Cawley, no less!) Most treasured/significant jazz-related experience to date: One of the best has been going to the late night jam sessions at Ronnie Scott’s on a Wednesday night. It’s an intense atmosphere and can be a bit intimidating, but there are always loads of great players, and sometimes you get musicians like Chris Potter coming up after having played in the club, which is pretty cool. Other than that, I played a support set at the Pizza Express Club in Soho with a great young singer called Emma Smith, to celebrate geting their new Steinway piano. That was pretty nerve racking, but a great experience. What did you think of the York Jazz jam session? I really enjoyed it! Everyone was very friendly and it was a great informal and relaxed atmosphere to make music in. I look forward to coming down again.
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Issue 3
Gig List
Make sure these dates are in your diaries! 7th September Shame & Guilt, Eyes Shut Tight and the Simon Lyszk Quartet, City Screen Basement Bar, 20:30, £4 16th September Alan Barnes, Black Swan Inn, 21:00, £3 18th - 20th September SCARBOROUGH JAZZ FESTIVAL 30th September Shame & Guilt Trio, Black Swan Inn, 20:45, £3 3rd October Andy Panayi Quartet, National Centre for Early Music (NCEM), 19:30, £12/£10 concessions, limited £5 student deal 9th - 11th October MARSDEN JAZZ FESTIVAL 28th October Pat McCarthy, Black Swan Inn, 20:45, £1 (that’s right, £1!) 6th November John Etheridge and Kit Holmes, NCEM, 19:30, £15/£13 concessions, limited £5 student deal 11th November Phil Meadows, Black Swan Inn, 20:45, £3 20th - 22nd November NCEM JAZZ WEEKEND 25th November Omar Puente, Black Swan Inn, 20:45, £1 (miss this gig at your peril! - Ed.) 11th December Geoff Gascoyne Quartet, NCEM, 19:30 £12/10 concessions, limited £5 student deal 18th December Martin Taylor and Martin Simpson, NCEM, 19:30 £17/£15 concessions