York Jazz Scene by Anna Lacy

YORK JAZZ SCENE ‘Promoting jazz musicians and serving their supporters’

What’s Inside?

Issue 1, February/March 2009

Editor’s Greeting; Foreword by Rob Lavers

University of York Jazz and Blues Society; Louise Gibbs Vocal Workshop

Freddie Hubbard: Everything that Jazz Is; Jazz Corgi

In the Spotlight: York Jazz

4-5

Make Mine a Regular

5 Pieces of Silver Gig Review

Looking for a Gig?

Nikki Iles Jazz Harmony Workshop

Kenny Wheeler: A Song of His Own

Editor’s Greeting Welcome to the first issue of York Jazz Scene! Some of you may be thinking ‘what scene?’, but as you read on, it should become clear that the city is home and host to a wealth of talented musicians and dedicated supporters, many of whom are fabulous writers! A lot of fantastic jazz is being created in and around York, but unfortunately, not a lot of people seem to know about it. Here is where York Jazz Scene, or YJS, aims to step in, by providing an outlet for the different jazz streams to come

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TranscriptionBased Harmonic Considerations of Keith Jarrett’s Ballad Playing

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Inside, you will find articles ranging from reviews to interviews, and be sure to check out the profile for York Jazz, the ‘world’s friendliest jam session’. At the heart of this issue is the upcoming performance with Kenny Wheeler and the University of York Jazz Orchestra. This is likely to be the most significant jazz event to occur in York this year, so make sure you buy a ticket (if you haven’t already)!

I would like to say a massive ‘thank you’ to all the contributors for their hard work, especially to Gwen Postle for her much appreciated assistance and support. I hope that you enjoy reading York Jazz Scene, and look forward to receiving any feedback which may help to improve future issues. Best wishes, Anna Lacy York Jazz Scene Editor

Foreword by Rob Lavers flourishing more than ever, the future looks optimistic for jazz in general. York University employs visiting tutors of world class standing to educate music students, and this is surely a sign that jazz is now firmly regarded as a serious art form.

Confessions of a 1213 MD; University of York Jazz Orchestra What Would Norma Do?

together, and to create a stronger feeling of community amongst those who are enthusiastic about jazz!

It is a pleasure to be invited to say a few words for the first edition of what looks to be a promising magazine covering all aspects of jazz music in the city of York. With education in this genre

One of the greatest challenges that any musician faces is that of selfpromotion and attracting an audience. By introducing and showcasing creative jazz musicians, this publication will help to bring awareness to this life-enriching music, and it is my hope that it will prove to be a vehicle for presenting, as well as creating, new venues in the

city. York is sadly deficient in venues willing to support less conventional forms of art, and without a creative arts centre, we find ourselves missing out on more progressive musicians working within this field. I am very much looking forward to reading a magazine designated exclusively to jazz in York. It is an exciting prospect to be able to read the views of musicians, and for them to have the opportunity to promote themselves, as well as attract the attention of venues, businesses, the local council, and the general public. It is going to be interesting to learn about new musicians and to feel part of a local jazz community.

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Editor: Anna Lacy Chief Assistants: Gwen Postle Matt Postle Proof Reader: Gwen Postle Contributors: Paul Baxter Dave Cook Jonathan Eato Jonathan Forster Ruth Keggin Anna Lacy

YORK JAZZ SCENE

University of York Jazz and Blues Society Chair Jonathan Forster gives us the lowdown It has been a privilege to be involved with the University of York Jazz and Blues Society over the last three years. As both a regular member and its Chair, the opportunity to meet like-minded people and talented musicians, attend gigs, present radio shows, as well as perform, have all proven to be worthwhile. A group dedicated to members with a similar taste in music can be particularly rewarding when approached pro-actively. Discussing what music other people enjoy, and listening to how they play, has

the potential to encourage one’s musical development far more than sitting alone with a thousand records.

able to make it accessible for students living in or around the university. Keep an eye out for the events we’ll be putting on!

The society aims to promote as wide a variety of events as possible. Sometimes we attend jazz nights in pubs or bars, but we also host our own. Our jam sessions in McQ's bar (Goodricke College) have proved popular, and we also organise non-musical gettogethers such as film or pizza nights. I'm very keen for jazz and blues to remain on campus, and hope that the society is

For anyone who wants to find out more, and keep up to date with the society, the best thing to do is to join our mailing list. Simply send an email to: jazzandblues@yusu.org, and we'll add you on. I send out emails concerning the events we plan to attend as a society, as well as any other gigs which might be of interest. If you like jazz and/or blues, I'd urge you to get involved!

James Lancaster Becca Lattimer Vanessa McWilliam Chris Moore Dave Morecroft

The Jazz and Blues Society is on Facebook. To find it, type ‘York Jazz and Blues Society’ into the ‘Search’ box, and join up! The society also has a slot on University Radio York (abbreviated to URY), 130AM. The show is called Jazz and Blues Fusion, and airs on Sunday nights, 9-10pm. Listen live through the URY website <http://ury.york.ac.uk/>

Matt Postle Tony Priest Noah Noutch Zezo Olímpio Hannah Witcomb Amy Wray Photography: Michael Brunsden Aaron Carey Logo Design: Amy Wray Special thanks to: Rosie Carlton-Willis Anna Doughtery

Louise Gibbs Vocal Workshop 03.02.09 Ruth Keggin I won’t lie; I’m no jazzer. So when I heard about a vocal improvisation workshop that was to be led by jazz singer Louise Gibbs, I initially thought nothing of it. However, my mind was soon changed by an email describing the session as ‘suitable for singers and instrumentalists of all styles’. The next thing I knew, intrigue had surpassed apprehension, and I was sitting in front of Louise Gibbs. Although it had been stated that instrumentalists were welcome, in actuality there was more focus upon the vocalists; and, bar for the three musicians who provided instrumental accompaniment, everyone was expected to sing. Gibbs was aware that the majority of participants were not jazz musicians, and therefore pitched the session at a basic level. We were eased in through simple warm ups, such as singing major scales in canon up to the ninth, stressing the notes that fell on the off-beats... and we were encouraged to ‘move to the groove’ as we did so. Whilst Gibbs was an energetic and lively educator, she was also unwaveringly firm about what she wanted from both singers and instrumentalists. Most importantly, it seemed that she wanted everyone to feel uninhibited and relaxed, often reassuring us that there was ‘safety in numbers’ in our large group environment.

Becky Thumpston

This approach certainly got results. Utilising the simple twelve bar blues structure, we simultaneously sang our own individual improvisations around these chords; ‘test running’ our skills, if you like. From this preliminary activity, each person went on to produce four bars of solo improvisation.

©York Jazz Scene. Copyright of individual pieces remains with the contributors.

Perhaps the workshop could have been improved if Gibbs had discussed the art of scat singing in more detail. I’m sure that I was not the only person to find myself sticking to a safe ‘doo-do-doo’, because I was unsure how to further develop interesting vocables that would give variety to my improvisations. However, on the whole, the experience was informal, enjoyable, and helped some participants to find that improvisation was no longer something to worry about too much... rather something you just did.

Dave Morgan

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Freddie Hubbard: Everything that Jazz Is Matt Postle The first influential memory I remember having of Freddie Hubbard was his solo on “Empty Pockets” from Herbie Hancock’s 1962 album Takin’ Off (Blue Note Records). It seemed as though Hubbard’s playing not only contained a rich history of jazz trumpeters (Clifford Brown, Fats Navarro, Dizzy Gillespie), but also created a whole new way of approaching the instrument. From his initial solo entrance, I realized how important he was to not only the trumpet, but to the music. Like all giants of Jazz, he played as though it may be his last performance. Freddie Hubbard was born 7th April 1938, in Indianapolis, Indiana. After much early success in his hometown, he moved to New York City at the age of twenty, where he became recognized for his overwhelming maturity and technical ability. Within a frame of three years, Hubbard was working with well-established jazz veterans Philly Joe Jones, Sonny Rollins, J.J. Johnson, Quincy Jones, and Eric Dolphy, and had recorded his debut album, Open Sesame, for Blue Note Records (with Miles Davis’ endorsement). Throughout the 1960s, Hubbard recorded several albums under his own name, and appeared with other musicians such as Art Blakey’s Jazz Messengers and Herbie Hancock. He also featured on several groundbreaking albums from this era, namely John Coltrane’s Ascension, Ornette Coleman’s Free Jazz, Oliver Nelson’s Blues and the Abstract Truth, and Eric Dolphy’s Out to Lunch. Much of Hubbard’s commercial success came in the 1970s via crossover recordings such as Red Clay, Straight Life, and First Light (which won a Grammy Award). However, by the late 1970s, Freddie had returned to hard bop jazz with the V.S.O.P Quintet, consisting of Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams. These other four musicians were already Jazz legends in their own right, and had been part of Miles Davis’ famous 1960s quintet. Throughout the 1980s,

Hubbard continued to lead his own small groups, and perform across the world. I was reminded of his greatness last spring, as I sat in Kenny Wheeler's house. Kenny asked if I wanted to listen to some Hubbard recordings which a friend had given to him, and he revealed that despite his belief in Hubbard’s influence as a trumpeter, it was only after hearing these recordings that he had truly understood his importance to modern Jazz. The collection was a mixture of rare and early recordings of Hubbard prior to his own albums.

“Hubbard’s playing not only contained a rich history of jazz trumpeters...but also created a whole new way of approaching the instrument.”

My words on Freddie Hubbard can only go so far; to truly understand him, or any other jazz musician, one must listen to the music. Only then can his significance be understood. Hubbard’s recordings continue to challenge the way modern improvisers approach their instrument; for us trumpeters, we can only shake our heads when we listen to him play. The mixture of technical virtuosity and pure soulfulness in his sound makes him arguably the most influential of all jazz trumpeters. Freddie passed away on 29th December 2008, at the age of 70. He will be greatly missed.

Jazz trumpeter Freddie Hubbard playing in Rochester, New York in 1976. Photo: Getty Images

Introducing Jazz Corgi York Jazz Scene is proud to present its official mascot: 3-year-old corgi Toby, or ‘Jazz Corgi’, as he is known amongst his friends. He can sometimes be found at the Black Swan jazz jam on Wednesday evenings, accompanied by owners Matt and Gwen (well, someone has to keep them out of trouble!), and a rapidly growing fan base. Look out for Jazz Corgi appearing in future issues of YJS!

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YORK JAZZ SCENE

In the Spotlight: YORK JAZZ Paul Baxter explains how it all began York Jazz was originally started by drummer Rich Ashby, who envisioned a weekly jam session which would improve and provide regular performance opportunities. Prior to the birth of York Jazz, a jazz session had existed in the De Grey Rooms (Exhibition Square), where Rich met pianist Karl Mullen and trumpeter James Lancaster. However, this eventually came to a halt, and another venue was needed. After much searching, the Black Swan seemed most willing to ‘try us out’, so in December 2000 the first Wednesday night jam session took place. Following four years with the band, Rich moved on to pastures new, and Dave Cook, a regular sitter-in, took over; then, two years later, Karl handed the baton over to frequent participant Chris Moore, forming the line-up as people know it today. In 2007, York Jazz began its ‘special guest’ programme, where a local or visiting artist is invited to have a featured performance with the house band on the last Wednesday of every month. As a band, we have undoubtedly benefited from playing with these great musicians, and the performers always attract large and enthusiastic crowds, which has been a great boost to the event!

Meet the Musicians who Make it Happen What attracted you to your instrument?

Originally an electric bassist, I was drawn by the sound and the feel of the instrument; and, depending on the situation, I much prefer playing the Double Bass. Who has been your favourite special guest to perform with and why? There have been so many great guests, it is difficult to choose! Every single one has brought something to the night, usually great musicality.

Paul Baxter, Double Bass

Tell us about your toughest moment in a gig. During the Steve Waterman gig, my Gstring kept slipping and all my notes were disappearing. What a nightmare!

Why should people come along? It is the ‘world’s friendliest jam session’! All sitters-in are welcome, and it has many staunch supporters, so there is a real familiar atmosphere. And it’s free! We only request that you buy drinks, to help the landlord support this much-needed weekly event. Are you in any other bands that we should know about? 5 Pieces of Silver, a tribute to the music of Horace Silver. This band features: Zezo Olímpio (Piano), James Lancaster (Trumpet), John McKillup (Tenor Sax) and Paul Smith (Drums); for selected performances we are joined by vocalist Louise Gibbs. The Paul Baxter Trio, where myself, Richard Wetherall, (Piano) and Kris Wright (Drums) play original jazz compositions.

Upcoming Special Guests March 25:

Al Wood

April 29th:

Louise Gibbs

June 24th:

Mark Chandler and Stuart Macdonald

July 29th:

Ben Malinder

September 26th:

Alan Barnes

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James Lancaster, Trumpet

Dave Cook, Drums

Chris Moore, Piano

Why is jazz important to you?

What sparked your interest in jazz?

It gives freedom of expression and

I had enjoyed listening to

many different musicians, and that every night the set is different.

brings variety to my other musical activities.

Which groups/artists are you listening to at the moment? I'm listening to Oliver Nelson, who wrote some really cool tunes. I will also be conducting the musical Fame! soon, so, as you can imagine, I often don my leg warmers and head band!!

What is the most difficult chart you’ve ever had to play? Chick Corea material such as Spain can be hard.

musicians such as Monk and Mingus for ages, but it was the sessions at the Black Swan that made me want to start learning how to play jazz.

What do you enjoy about jazz?

The fact that you can play with so

Describe your ‘dream’ band. I'm lucky to play with so many good musicians who play in a range of styles. Look out for Frank Brooker, Ken Marley, Al Wood, Andy Hillier, Will Collier, Andrew Cox, Alasdair Simpson...there is just so much talent around! What can people expect from the sessions at the Black Swan? A number of things: Great guests Friendly atmosphere Banter Jazz intercourse (Eh?? - Ed.) The odd moment of inspiration. Can we catch you anywhere else? I’ll be at the Harrogate Jazz Club, in the West Park Hotel, on 17th March.

Say something nice about your fellow band mates. Do I have to?? No, seriously, I am grateful to have such great musicians to play with, and who help me to sound good. Drums and bass have to work closely together, and playing with someone like Paul is amazing. What do you enjoy most about performing here? The ambience of the room; the sessions take place upstairs, so everyone who is there comes because they are into jazz/music. Every week is a new experience, and we get some really good musicians sitting in and adding to the interest. Got any upcoming gigs which you’d like to mention? I play with a Jazz trio led by Karl Mullen at The Tanglewood (on the A64 towards Malton) on Sunday lunchtimes. I can also be found at the Pave Jazz jam in Hull every Tuesday. On 14th March I will be performing at the Boston Spa in Leeds with the Rachel Sowerby quintet.

Want to know more about York Jazz? Find us online! Official Website: http://www.yorkjazz.com/ MySpace: www.myspace.com/yo1jazz Alternatively, ring Paul Baxter: 07788 536152

If you had to save one jazz chart from oblivion, which would it be and why? Perdido, because it is such a happy tune; the recording of it with Charlie Parker and Max Roach at Massey Hall is amazing. In your opinion, which tune(s) should be put into Room 101? I don’t really hate any tunes. Sometimes we really mess a tune up and it sounds terrible, but it’s rarely the tune’s fault. Describe your most durable memory of the sessions. I used to come down to the Black Swan with all my school friends. They have all moved to different cities now, but the memory of watching Star Trek with my mate Steve, and drinking plenty of beers before heading out to the Swan is a nice one I shall keep. When you’re not here, where can we find you? I play in Ron Burnett’s Mardi Gras Jazz Band every other Thursday at the Old White Swan, which is a good laugh. The band members are older than the lot at the Black Swan, but they are great players; they can be very silly sometimes, especially with the moving teapot duet that Ron and Greg like to do.

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Make Mine a Regular: Tony Priest Self-confessed “jazz veteran of this parish” Interviewed by Anna Lacy How long have you been coming to the jam night at the Black Swan?

Since it started, which is about eight years ago. When I first came, there were more of them than there were of us; I think there were about five or six in the band, and there were four of us in the audience. At that time we were downstairs in the front bar. What is it about the jam night that has made you attend for such a long period of time? Well I have been a jazz fan ever since I started buying records in the 1950s/60s (if I dare say so). However, I didn’t take a lot of notice until about the early eighties, which was when I started to see what was going on in the jazz scene in York. What do you think of the jazz nights here? They’re absolutely excellent in many respects. The guys really need organising in terms of somebody to take money on the door and for the raffle; but, jazzers being jazzers, they say ‘oh no, we prefer to do it ourselves, Tony’, despite how many times you offer. Could you tell us about any personal jazz highlights over the years? You were very kind not to say ‘over so many years’! I did see Count Basie at Birmingham Town Hall in 1962, which was absolutely phenomenal – I was blown away! I was a Salvation Army boy at the time, so hearing so many wonderful brass players was heavenly! Do you have any memorable moments from the jazz nights here? Yes I have! We’ve had some pretty good guest artists like Alan Barnes, who is, I suppose, ‘everybody’s favourite’, because everybody would have seen him perform at some stage! He is truly a jazz enthusiast, and will talk to anybody about jazz; he tries to promote the genre as best he can, anywhere in the world. We also saw Peter King, who is a fantastic saxophone player. We’ve also had Steve Waterman on trumpet here, and tonight, of course, we have Mark Nightingale, who is, again, a totally wonderful player. Has the jazz night here changed in any way over the years, and if so, how? Well, as I said, there were more of them than us the first night. But about three or four months later, it had moved upstairs to the room where we are now, and attracted the attention of a lot of York University students…by which time it was difficult to get a seat, anyway! That’s fine for me, because I like to stand just inside the door to listen…and heckle, sometimes! What is your opinion of jazz in York? It’s not bad; it’s a bit difficult when you listen to a guy like Mark Nightingale tonight and we haven’t got anything of that standard, perhaps [at which point Paul Baxter walks past and laughs incredulously at what Tony has just said]. But the selection of jazz ’round and about is not bad at all. Musicians are reliant on pubs to give them a venue to play, of course, and the Black Swan tends to do so more than most. We’re grateful for what we can get in York, in a manner of speaking, but even so it’s better than a lot of cities that are pretty soulless in that respect. How would you like to see jazz develop in the city? Well it would be nice to see a purpose-built jazz venue, so that any decent jazz bands we got could come and play there. I’m sure that they would get enough attention from the local jazz media in order to get a good attendance. Which of the special guests are you looking forward to seeing in the coming months? Apparently Alan Barnes is coming back again in September, and I’ll be interested to see him again. I haven’t looked at the programme, but for all the guest artists that come, I shall be there. What can people expect from the jazz night at the Black Swan? Decent ale in the bar downstairs, and decent jazz when they get upstairs. It’s fairly informal; the guys are all very friendly and approachable, and I’m sure that they would have a great welcome, were they to come. Thank you very much, Tony; you’ve been brilliant. My pleasure; it’s been nice to talk to you.

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5 Pieces of Silver 05.02.09 Sela Bar, Leeds Anna Lacy

5 Pieces of Silver formed in June 2008 and are a quintet dedicated to performing the music of pianist and composer Horace Silver. Despite this relative youthfulness as an ensemble, their wealth of experience brings cohesion and ensures dynamic musicianship at all times. Paul Smith’s explosive drum solo began the first set, fixing all eyes on the stage (and causing those close by to jump!), before the band moved into the opening number. John McKillup (tenor sax) and James Lancaster (trumpet) are the formidable horn players; from punchy motifs, to gutsy growls and soaring altissimos, their solo work always proved popular with the audience, as did Lancaster’s comedic compering. The rhythm section, comprising of Paul Baxter (double bass) and Zezo Olímpio (Fender Rhodes keyboard), alongside Smith, also deserve attention. All are dexterous performers capable of producing engaging solos – Baxter’s ability to create interesting melodic ideas should particularly be noted – and their interactions with the front line, as well as each other, definitely heightened the level of excitement. Highlights from the sets include: the irresistibly vibrant Cape Verdean Blues which made you want to dance (I was certainly grooving and bopping away in my seat!); Bonita, a sultry tune underpinned by alluring harmonies and habanera-like movement in the bass; Señor Blues, with its enticing melody and sensual riff, which also yielded one of Olímpio’s best improvisations of the evening; and Mexican Hip Dance, whose 3/4 time was distinctly refreshing, and acted as fertile ground for McKillup’s full-bodied soloing. The ensemble should additionally be commended for incorporating challenging tunes like Nineteen Bars – a title indicative of its unconventional structure and complete with fiendish tempo – into their repertoire.

5 Pieces of Silver will also be performing: 26th March, Sela Bar (Leeds), 22:00 2nd April, Cooper’s* (Leeds), 20:30 3rd May, Pave (Hull), 14:00 3rd June, Scarborough Jazz, 20:30 (* = gig featuring guest vocalist Louise Gibbs)

5 Pieces of Silver currently have no scheduled gigs in York. If you would like to book them for a performance, contact Paul Baxter on: 07788 536152

This was a highly satisfying performance; in fact, the worst part was needing to leave for my train, and therefore missing the encore! With the audience crying out for more, how could they possibly refuse? Forget silver – this was pure gold!

For more information, check out their official MySpace page: www.myspace.com/5pi ecesofsilver

Look out for 5 Pieces of Silver appearing in a future issue of YJS!

5 Pieces of Silver: Paul Smith, John McKillup, Zezo Olímpio, special guest vocalist Louise Gibbs, James Lancaster, and Paul Baxter. Photo taken at their recent recording session.

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Looking for a Gig? Start the search at these venues!

Black Swan: York Jazz Jam, every Wednesday night, 8:45-11:15pm. Special guest nights happen on the last Wednesday of every month. Bring along your instrument! Old White Swan Pub: Ron Burnett’s Mardi Gras Jazz Band, and Bejazzled, every Thursday night (each band plays on alternate weeks). Kennedy’s Bar: Rob Lavers Quartet, Sunday lunchtimes, 12-4pm. The Tanglewood: Jazz trio led by Karl Mullen, Sunday lunchtimes. Ye Olde Starre Inne: John Addy plays here on alternate Wednesdays. The Court Café Bistro & Bar, Dean Court Hotel: 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. March 12th: Tony Rocca Duo; 9th April: John Whalley. National Centre for Early Music: Hosts special Jazz Weekends every November and May, and includes jazz performances within its regular concert programme. Dennis Rollins is performing there on 28th March, 7:30pm. 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. Re:impressions are performing at 1pm on 17th March. Basement Bar, City Screen Cinema: A variety of events are held here, including the occasional jazz gig.

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Nikki Iles Jazz Harmony Workshop 10.02.09 Noah Noutch A few weeks ago, I was approached to take part in a workshop led by Nikki Iles. I immediately grabbed at this opportunity, keen to meet her, and to learn more about jazz theory. Iles has been part of the British jazz scene since the early nineties, and has collaborated with accomplished British artists such as Julian ArgĂźelles, Stan Sulzmann and Martin France. As a highly respected performer and composer, I hoped to gain from her professionalism, discipline, and knowledge. Approximately a dozen music students attended, and the session began with each person explaining their degree of acquaintance with jazz theory, which varied from the absolute beginner to experienced jazz musicians. Iles did well to take on board this information, and managed to cover both simple and advanced theory in a succinct and interesting way. The jazz standard Autumn Leaves was used as the main focus for the workshop, covering simple progressions, to re-harmonisation and substitution methods. Iles explained different approaches for learning charts quickly, and moved on to examine modes, ranking them according to their respective 'brightness'. She cleverly demonstrated this through a bass riff, where notes were altered to make up the desired mode, and this displayed her ability to put the newly-explored concepts into a practical context. I had expected to hear the usual basic-level theory that is common with these occasions, due to the variety of skill levels present. However, I was pleasantly surprised to come away with many useful tips and pointers that are not often taught, but are expected to be picked up as you delve deeper into the world of jazz. Iles managed to combine her considerable experience of the genre with an approachable and un-intimidating manner. This created an effective teaching style, and was appreciated by everyone who participated. If the chance arises in the future, I strongly recommend going to her workshops. It is additionally worth hearing her in concert, because she is an excellent advocate of jazz, and is essential listening for anyone who enjoys British or piano-based jazz.

Your YJS

York Jazz Scene is on the hunt for material to appear in the next issue! Got a great idea for an article? Fancy writing a gig or album review? In a band that we havenâ&#x20AC;&#x2122;t heard about? Need to promote your jazz event? Want to make your voice heard? YJS is dedicated to the jazz community in York, so whether youâ&#x20AC;&#x2122;re a musician, venue owner, promoter, or simply someone who enjoys listening to jazz and attending gigs, you are a part of this, and we want to hear from you! All jazz-related items will be considered, just get in touch! Email: yorkjazzscene@googlemail.com Telephone: 07939 463936 Or feel free to approach me for a chat! Watch this space for future internet expansion!

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YORK JAZZ SCENE

Kenny Wheeler: A Song of His Own Matt Postle It has not been an easy task to write about someone I greatly admire. Kenny Wheeler has created a personal musical language through unique melodic/ harmonic structures, and possesses a truly individual, unmistakable voice on the flugelhorn. He continues to have a profound effect on Jazz throughout the world. Wheeler was born 14th January 1930 in Toronto, Ontario, and grew up in the St. Catharines suburb. Both of his parents were musical; his mother played the piano, and his father, a banker, also worked part-time as a trombonist. At the age of twelve, Wheeler’s father gave him a cornet; he admits that it took a few weeks of interest before actually playing the instrument. His first performing experience came from playing in a navy band at the age of fourteen, and he was introduced to Jazz via musicians that his father listened to on the radio, such as Glenn Miller and Tommy Dorsey. Wheeler gained initial inspiration from players such as Buck Clayton and Roy Eldridge, and was introduced to bebop in the 1940s. In his own words: “I was listening to Dizzy [Gillespie] and Bird (Charlie Parker). I didn’t understand that music the first time I heard it.” (Gene Lees, Arranging the Score: Portraits of the Great Arrangers, interview with Kenny Wheeler) He may not have understood it at the time, but Wheeler now insists that bebop is in his roots. It was also during this period that he began studying at the Royal Conservatory of Music in Toronto, where he received trumpet and theory tuition, despite not being officially enrolled. His first formalized harmonic training came from Paul Hindemith’s book of traditional harmony. After living in Toronto, Wheeler moved to Montreal, Quebec, to begin a program in high school music education at McGill University. It was here that he met long-time friend Gene Lees and began to perform around the city; more significantly, this meeting convinced him to leave Canada for London, England. Lees told him that big bands were still performing in England and were always in need of brass players, so

in 1952 Wheeler journeyed to London, and has been based there ever since. Wheeler’s first ‘break’ in London came midway through the fifties from bandleader Roy Fox, whose ensemble played arrangements of popular songs and jazz music. By 1959 he had established himself, and was working with famed British bandleader, John Dankworth. His musical education continued throughout the 1960s, under composers William Russo (arranger for the Stan Kenton Orchestra) and Richard Rodney Bennett, with whom he studied counterpoint and serialism. After fifteen years in London, Wheeler released his first album, Windmill Tilter, on the Fontana Label. This recording consisted entirely of original compositions performed by the John Dankworth Orchestra, and was inspired by Miguel de Cervantes Saavedra’s novel Don Quixote. It is now extremely rare and out of print. In 1973, Wheeler released Song for Someone (Incus Records, reissued on Psi), his second album as a leader. It featured Norma Winstone, whose wordless vocals added a unique texture to the music; she came to hold an important place in his large ensemble writing, the focus of several other albums. These early records grabbed the attention of European audiences, who acknowledged him as a gifted composer, as well as a trumpet player. Wheeler’s first recording for small ensemble, Gnu High, was released by ECM Records in 1975, and involved Dave Holland (acoustic bass), Keith Jarrett (piano), and Jack DeJohnette (drums). The album proved highly successful, receiving acclaim from critics, musicians, and jazz enthusiasts alike, and is currently considered his finest release. He continued to record with ECM until 2000. Wheeler’s influence is still heard throughout Jazz today: in the work of leading composers Maria Schneider and Dave Holland, and trumpeters Dave Douglas, Ingrid Jensen and Ralph Alessi, to name but a few. Douglas, a leading figure in contemporary jazz,

has defined Wheeler’s unique improvisation style as a school of study in itself. His ‘Sweet Time Suite’ is regarded by university jazz departments as a defining example of modern jazz composition/arranging. Today, Wheeler maintains an active performing and recording career, and composes new music for large jazz groups, string quartets, woodwind quintets, choirs, and brass ensembles. No other artist in the UK or Europe has had such a significant influence on modern Jazz. The concert on 6th March 2009 will feature the aforementioned ‘Sweet Time Suite’, taken from the 1990 album Music for Large and Small Ensembles. What is noticeable from the opening movement is the democratic writing; this music was written to feature an ensemble, not simply act as a vehicle for Wheeler’s own improvisations. His attraction to an orchestral sound-world is reminiscent of those ensembles led by Stan Kenton and Duke Ellington, and Winstone has often remarked that Wheeler is the Ellington of our time. The University of York Jazz Orchestra has rehearsed diligently for this performance, and is honored to be performing with a true jazz great. Matt Postle is a PhD student at the University of York. Throughout his research, he has dedicated a lot of time to studying, transcribing, and archiving the music of Kenny Wheeler.

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Confessions of a MD Jonathan Eato answers some tough questions about the Jazz Orchestra terms of rehearsals, maybe it’s useful to have someone who says ‘this is the vision that we’re aiming for’, because we only have two hours a week to rehearse, and a conductor or director can speed things up. If we ever have repertoire that the band can do without me, then great; I’m happy to turn up to the practices, rehearse the band, and then sit in the audience. Could you explain how the opportunity to perform with Kenny Wheeler arose?

What is the Jazz Orchestra and what is its purpose?

Entirely through Matt Postle. He came to study here because John Taylor is here, and because of John’s relationship with Kenny over the years. Matt is very interested in Kenny’s music, and knows him and his manager, Andrea. He suggested the idea for the gig, and has

I don’t know why it’s called a ‘jazz orchestra’ – to me, it’s a big band – but we explore material that you might not normally come across. We don’t play arrangements by Glenn Miller or Neal Hefti, as much as I enjoy that music and think it’s wonderful, because it’s very easy for students to play in bands that have that repertoire without institutionalised help. We also try to involve the music of people that we have personal connections with; for example, when the members of Julian Argüelles’ octet come up, they often bring charts of their own, or of people that they work with professionally. As Musical Director, what do you perceive your role and duties to be? I see my role as…non-essential, in the sense that a good professional big band doesn’t really need someone flapping around at the front. When the band played John Taylor’s big band music a couple of years ago, I led rehearsals; but when it came to the concert, John was able to count in and conduct parts that needed directing from the piano, which worked well. We’ve also had gigs where members of the band count in; I think musically that’s more desirable, because it’s not about a guy in tails with his back to the audience. Having said that, in

How do you feel the students are handling the repertoire? Really well. It’s difficult, and it’s not the same as a lot of big band repertoire that people might have been exposed to previously. It’s clearly from that lineage, but it has other challenges; for instance, it’s not that usual for swing band music to change time signature a lot, or have as many different sections. There are quite a lot of notes, and it’s a saving grace that the band are such good ‘readers’, because we only have short rehearsal ‘run-ups’ during the terms. A greater challenge for people is the soloing, because the harmonic language is unique to Kenny and it’s very specific; he’s clear about what he wants. You can get away with certain things in more familiar repertoire, but playing a blues scale over a lot of Kenny Wheeler’s music probably won’t get you very far. Of course, that’s not something that you can learn overnight; it involves a lot of individual listening, and understanding the harmonies. What direction would you like to see the Jazz Orchestra take in the future?

pretty much done all the work; I can’t claim any credit for it. Most often when Kenny does stuff with youth jazz orchestras – even professional jazz orchestras – the ‘Sweet Time Suite’ is the ‘thing’ they want to play, because it’s fantastic music, everyone knows it, and it’s been recorded on Music for Large and Small Ensembles. But Kenny, Matt and John also came up with a lot of alternative suggestions, which was great, because Kenny has written so much music, and not all of it is so well known. We’re lucky in the department because there are a lot of good singers, which is essential for the difficult vocal parts in the ‘Sweet Time Suite’ and the standards; it’s not a traditional way of treating the voice in a big band context. There are also two brass pieces and a sax quartet in the programme, all of which emerged out of conversations between Matt, Kenny, Andrea, and John.

I’d like to see it continuing to play music that people want to have experience of playing, and are interested to hear, that is not readily available elsewhere in York, or even in the North East of England. I would also like more people to write for

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Issue 1 the ensemble; Zezo Olímpio has composed for the band, and I know Dave Morecroft has produced some arrangements, as have other people. Next year, the Jazz Orchestra is going to be involved in the first ever Lyons Celebration Award [an annual award set up by Lady Roslyn Lyons, the widow of the late Sir Jack Lyons, which allows the recipient to ‘undertake a significant creative musical project, culminating in a public musical performance’, according to the University of York Music Department website. Applications for the project are asked to be inspired in some way by Bernstein’s Chichester Psalms, one of Sir Jack Lyons’ favourite works]. There were about ten applications; it could be in any style, and only one was jazz-based. The commission went to Zezo Olímpio, who is writing for jazz orchestra, gospel choir, string ensemble, solo voice, and solo improvising saxophone. These sorts of projects are very exciting, because it’ll be the first time that anyone plays that music. Interviewed by: Anna Lacy. Special thanks to Aaron Carey for providing the photography for this article.

Jazz Orchestra Line-up 2008/9 Saxophones:

Joe Murgatroyd Sally Wilson Tim Twomey Amy Wray Anna Lacy

Trombones:

Daniel Chadwick Noah Noutch James Ball Isaac Lockett

Trumpets:

Richard Blake Matt Postle Amy Nelson Katie Mackay

Rhythm:

Dave Morecroft Vanessa McWilliam Simon Roth Chris James

The University of York Jazz Orchestra will also be joined by special guest, and renowned saxophonist, Julian Argüelles

Jazz Orchestra Perspective Three band members tell it like it is “The preparation process has been tough, especially rehearsing the sax quartet piece, The Way We Were, which has some tricky time changes to get your head around. However, by needing to study Kenny’s music so closely, I think I have gained a deeper appreciation for his unique style, and the way he conveys his musical ideas. At the moment, I’m not feeling nervous about the performance, but I'm sure that will change when I meet Kenny!” - Amy Wray

“Kenny Wheeler has a unique harmonic language ,which often digresses from a traditional 'jazz style', and is certainly a far cry from bebop. During the preparation for this concert, I have had to overcome various challenges within the music, such as needing to adjust voicings on the piano in order to amply express the complexity of the writing. I have particularly enjoyed working with other individual members of the band (for example, voice and guitar), where the piano has moments of interplay in a duet setting. I am glad to have had this opportunity to play Kenny's music, and feel extremely absorbed. I'm very much looking forward to working with Kenny - he's the biggest artist to work with Jazz Orchestra for a long time!" - Dave Morecroft

“I've really enjoyed getting to know this music; it's really great to play, and although at times it can be challenging, it is also very satisfying. The music doesn’t allow us to hide anything; there are exposed moments for everyone, so we need to be on top of our parts! I am very excited about the concert, but also nervous that it's so close! I can't wait to meet Kenny, and I think the concert will be a great success.”

- Vanessa McWilliam

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What Would Norma Do? Anna Lacy chats with vocalists Becca Lattimer and Hannah Witcomb, the latest additions to the Jazz orchestra family

Given the fact that I had not conducted an interview for over a year, I could not help but wonder if holding a joint interview might be over-ambitious. However, before I knew it, the date, time and venue were arranged, Michael Brunsden had agreed to do photography, and I found myself with my set of questions and recording equipment at the ready. True, the UCAS auditions meant that we needed to change location, but the humour of the quasi-celebrity situation ensured a relaxed atmosphere from the outset; and, fortunately for me, this upbeat, good-natured vibe remained throughout the interview. Early on in the conversation, it became apparent that the ladies have rather contrasting musical backgrounds. Hannah has pursued singing activities from a young age, and is primarily a classically-trained vocalist. Her foray into jazz increased when someone from the East

Midlands Jazz Orchestra approached her following a singing competition at her school, and her jazz-related activities have continued since then. Becca approached singing in her teens as a fun alternative to her violin and piano studies, and focused on developing her vocal skills at university, upon discovering that she could have lessons with a jazz vocal teacher (Louise Gibbs). She cites her elder brothers’ own interest in jazz as early influences: “it became ingrained into me; so at university, I found that although I didn’t know anything about jazz, I could improvise!” Interestingly enough, Becca is currently the only first-study jazz vocalist in the department. In terms of who they regard as figures of inspiration, Ella Fitzgerald, Sarah Vaughan, Nina Simone – and, of course, Norma Winstone! – are mentioned; however, in addition to these divas of jazz history, both are interested in listening to a range of

vocalists covering a myriad of styles. Hannah explained that, with regards to technique, all singing is pretty much based on the same principles, but it is “what you bring to it and your own interpretation” that is the most important part of performance.

“I didn’t expect to get it...I got a text message from someone saying ‘well done’, and I was like, ‘for what??” - Hannah Witcomb Although the Jazz Orchestra began rehearsing in October, this is the first time during the academic calendar that vocalists have been able to collaborate with the ensemble. Recalling my own ignorance of Kenny Wheeler prior to my arrival in York, I enquired as to how familiar the pair were with his

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Issue 1 work before the auditions. Hannah revealed that she sang a number of Wheeler’s compositions in a lunchtime concert earlier on in the term, and Becca became aware of his music through participating in projects taught by long-term Wheeler collaborator, John Taylor. Hannah admits that she was initially reluctant to put herself forward due to her busy workload, and therefore auditioned “for the experience”; Becca, however, was the first to sign up for a slot, knowing that opportunities for vocalists to work with departmental ensembles are rare. When asked about the audition process itself, both ladies become increasingly animated. It is a widelyheld notion that when a group of (female) singers vie for something, there is intense rivalry. However, in spite of the hype surrounding the occasion (candidates only had a weekend to learn ‘Consolation’, the sixth movement of the ‘Sweet Time Suite’, off by heart), Hannah and Becca describe a supportive atmosphere, as the auditionees found themselves united in their battle to master Wheeler’s “flipping hard” vocal lines. The auditions attracted five potentials, all possessing very different voices, and Becca insists that the calibre of talent was so high that “it could’ve been anyone”. Hannah’s response is equally modest: “I didn’t expect to get it… I got a text message from someone saying ‘well done!’, and I was like, ‘for what??’” As we move on to discuss the music, it becomes clear that Wheeler is as challenging in his vocal lines as he is in his ensemble writing; and from the amount of times that her name is mentioned, the pair are very aware of the standard Norma Winstone has set. Winstone has a long history with Wheeler’s music, dating back to the early 1970s when she contributed wordless vocals to his sophomore album, Song for Someone. The unique dimension that this brought to his compositions encouraged Wheeler to write music – particularly for large ensembles – specifically with her in mind. The technical virtuosity needed to perform some of this material has brought her international renown, and also made her a tough act to follow! “Singing with Kenny Wheeler is just outrageous!” exclaims Becca. “I’m really scared he’s going to be like: ‘I

don’t think much of your choice, Jon Eato. Who is this girl? She’s no Norma!’” “Let’s be fair,” continues Hannah, “Norma would upstage the rest of us!” Whilst the Jazz Orchestra are able to utilise their instruments to cope with entries, tricky intervals and extremities of range, for the vocalists the experience is far more exposing. This is because Wheeler treats the voice as another instrument, rather than adhere to its traditional role as a

lines to ‘sink in’, and that the experience has made their practice sessions more constructive by improving their self-discipline, and, in Becca’s case, increasing motivation: “I’m open about how lazy I am, so I’m glad to do this, because I need to practice every day for a good hour to get this stuff into my head. With some things it takes me an hour to learn half a page, it’s so hard.” Bearing all of this in mind, how do they think their instrumental counterparts are faring? “When I came to the first rehearsal, everyone was so amazing” begins Becca, “I think we’ve been made to feel really welcome”. “Everyone is playing really well,” adds Hannah, “and wants to be there. There’s a massive buzz in rehearsals. I think it’s going to be really intense when Kenny gets here.”

“The whole three years of my jazz life [in York] is leading up to this...this is a measure of what I’ve learned.” - Becca Lattimer soloist. Both women agree that this approach has taken some getting used to, Becca stating “you’ve got to learn how to blend”, and Hannah declaring that “this is the first time I’ve felt part of an ensemble”. They strongly advocate listening to recordings whilst following through with the parts as a vital preparatory tool. In Hannah’s own words: “I look a bit like a Kenny geek, because if you go on iTunes it tells you how many times you’ve played a track, and all the Kenny Wheeler songs are much higher compared to everything else!” The songstresses also explain that much of their practice time is spent repeating passages over and over in order for the

Our attentions turn to the day of the performance, and I ask what they are most looking forward to about the experience. “Singing with Kenny Wheeler and the Jazz Orchestra , and being able to say that I’ve done that” answers Hannah, later including the satisfaction of knowing that “I managed to learn this beast of a piece!” For Becca, the performance holds even more significance: “The whole three years of my jazz life [in York] is leading up to this. I’ve done lunchtime concerts and sung at balls…but this is a measure of what I’ve learned. It’s a proper test, because in a lunchtime concert you can go into your comfort zone, and this is not in my comfort zone, so it’s going to be a really exciting challenge.” This is a once-in-a-lifetime opportunity for the city of York, as much as for the students, to host and perform with a living jazz legend. Make sure you don’t miss it. YJS wishes Becca, Hannah, and the Jazz Orchestra all the best for the performance.

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YORK JAZZ SCENE

Transcription-Based Harmonic Considerations of Keith Jarrett’s Ballad Playing Zezo Olímpio This article consists of a series of analyses, followed by a transcription, of the Jazz standard ‘Never Let Me Go’. Originally by Jay Livingstone and Ray Evans, this study concerns the performance by the Keith Jarrett trio, featuring Gary Peacock and Jack DeJohnette, which was recorded at a live concert in Tokyo, and later released as the Tokyo ’96 LP. The transcription focuses upon Jarrett’s harmonic approach to the ballad, specifically his left-hand chord voicings; it is very strict toward enharmonic and chord spelling for analytical purposes, and to minimize the risk of mislabeling or misconception. Functional Harmonic Analysis.

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After careful analysis and scrutiny, we come to the conclusion that the piece is not harmonically simple. The most common approach by a jazz musician would be to embellish the harmony with added and altered tensions and re-harmonizations. Jarrett’s approach, however, is more like a de-harmonization, where he practically reduces some of the chords to their bare bone structure. This is evident in bars 5, 13, 15-16 and 33, where instead of playing the expected Maj7 (sometimes Maj9) chord, he opts for a simple triad with an added 9th. This produces a very simple sound – something that our ears will not instantly associate with the jazz idiom – and is reminiscent of simple folk songs or lullabies. This is not to say that these chords are any less sophisticated, because it is their combination with more traditional jazz voicings that creates this particular idea. The deharmonization is sometimes used as a simplification of the II – V cadence, where instead of playing the full cadence he reduces it to the V chord alone, as seen in bars 4 and 8. Another interesting feature observed in the transcription is the delayed use of an altered tension. Instead of approaching a tension at the beginning of a bar, Jarrett holds on before introducing it during the final beats, whereby reducing the level of instability; examples of this can be found in bars 2, 10, 12, 18-20, 26, 31-32 and 36. Note that in bars 18-20 and 31-32 he uses a b9, natural13 chord structure, which is not very common, but proves effective. This is not particularly idiomatic of jazz vocabulary, but happens to be a common device in classical music. Futhermore, the way that voice-leading techniques are used in order to embed the altered tensions requires notable levels of musicianship, something which Jarrett exudes. His voice-leading devices in the left hand present a fruitful topic for exploration. The way that Jarrett chooses to play the left hand accompaniment is musically interesting, and happens to be very difficult to execute with precision, because a number of the voicings require some stretching of the hands. The fact that it was all created in real time, as were most of the elements mentioned in this account, is impressive. From examining the beginning of the transcription, it is clear where Jarrett gets the idea for the pattern he uses throughout the song. It is almost there in the second bar, and is fully present thereafter. He continues this ostinato-like figure throughout the whole tune, with some intermission and variation during the bass solo and transitional sections. Again, this could be considered a far more common approach in classical music than in jazz. However, when one looks at the other famous rendition of ‘Never Let Me Go’ by pianist Bill Evans (taken from the 2005 Alone album), it is interesting that this accompaniment pattern does not emerge again, not even in Jarrett’s own version on the Standards Vol. 2 album, issued in 1994. It is unknown if any of the music was pre-planned, but from several of Jarrett’s declarations, one gains the impression that most of his trio repertoire is created with little or no prior preparation. The way that Jarrett morphs one chord into another, carefully choosing ambivalent structures which work in the previous chord, as well as the one in sequence, with very little note changing, highlights his musical sensibility. This is due not only to the ambiguity of the voicing itself, but also the way it is placed in context. His piano touché softens an otherwise aggressive cluster voicing, and provides an ideal opportunity for incorporating triadic elements. The material used in bars 8 and 14 are good examples of voice leading and the moving of inner-voices within the chord structure. In bar 8, Jarrett utilizes the tension 13 on the Bb7 chord to approach the subsequent Bb-7 chord; in order to create a moving inner-line, he lowers the 13 to a b13 and resolves it into the 5th of the next chord. This is a simple, but very effective device, and is used successfully again in bar 14. It is peculiar that voicings which include the root are utilised throughout the piece, because most jazz players would immediately choose rootless voicings, by far a more standard approach and possessing a familiar sound. To follow in the steps of the historical greats and attempt to make a tune truly your own is very demanding, but also very rewarding! I personally believe that placing yourself in the same line-up as a Jazz giant and telling your version of the same story is one of the attractive points of playing standards. This is not easy to achieve with a ballad like ‘Never Let Me Go’, because it is played slowly and without double time solos for ‘flashy note bashing’, like in up tempo numbers. The real challenge is to keep the improvisation both simple and sophisticated. As an ensemble, the aim is to embrace this concept, and further elevate the tune’s simplicity and beauty; and this is possible without needing to resort to any kind of complicated arrangements or formats. During the meticulous process of transcribing ‘Never Let Me Go’, it was fascinating to uncover all the details of performance, and be able to view the ‘big picture’, layer by layer. In addition, it was interesting to see how much one can benefit from dissecting a tune and viewing it from an analytical perspective. Therefore, it should be asked: how much can be extracted from a piece of music? In my experience, more than one can imagine. You can email Zezo Olímpio at: zezoolimpio@mac.com.

Check out his MySpace profile: www.myspace.com/zezoolimpio