Awake, above by Caoilfhionn Rose who supports Matthew Halsall in Sheffield on 10 October, and in London at the Roundhouse on 20 October among a selection of upcoming dates. Info. 

E’s Flat Ah’s Flat Too, yep spurious Mingus reference you may think to entice you further and yet not as much of a random bit of typing as you may suspect even when nary a Ming thing materialises, so far. 

One of the finest alto sax players anywhere in Greg Osby bopped up into view (nb gratuitous transposing instrument that happens to be in Eb) for Learn to Live (BRM/UK), the brainchild of English expat “E”, that fine imaginative avant composer-pianist John Escreet who also experiments with a Prophet 6 synth on this outing as he did dabbling a little on Alex Sipiagin’s Moments Captured. By the way any other Es, transposing instrument or not in tow, involved?

Introduced by a few earlier letters, easy does it, of the alphabet let’s see:

  1. Ah, yes — since you ask. How about the great Eric Harland? Yep he is on board. He shares drum duties with, no Es in sight, Justin Brown. 
  2. Other heavy hitters on the record are bassist Matt Brewer and trumpeter Nicholas Payton. 

Back to the Es, the ETA or estimated time of arrival falls sometime before cocoa and slippers well before the 12 October ‘Hora Decubitus’ [or bedtime], as ‘E’s Flat Ah’s Flat Too’ is also known in other versions. For shoehorning-in reasons only, release is a mere three days before none other than the Mingus Big Band hit Ronnie Scott’s. SG

Less Chick Corea than a channelling of music from Korea, instead of brandishing some sort of electric quill or smudging the digits to write a fairly unnecessary panegyric, obviously this soars ffs. September release.

Tom ArthursTom Arthurs 

A non-rhetorical question that sounds more like the beginning of a module than a header in a small article may be your first thought. 

In a few words and potentially before months elapse exploring the subject the disclaimer and answer perhaps is there boiled down to raw materials in these words of description: “all tracks composed in the moment.”

In the form of music the evidence is provided it struck me anyway in a label entry for Quairós, their quoted words as inconspicuous as a listing in a no longer worth publishable telephone directory, I spotted on to explain the method on Velaissued by the German label Jazzwerkstatt in the spring. 

The band, group, ensemble, pick a badge, are Tom Arthurs on trumpet; Miles Perkin double bass; Janne Tuomi, drums and percussion; and Markus Personen, guitar.

Hardly an exaggeration to think that Tom, a significant leading educator transplanted from England to Berlin and now to a leading role at HKB in Bern where another big guru of a composition draw in Django Bates also teaches, has taken up the mantle conceivably of Franz Koglmann crossing the borders of improvised music into formal composition and roaming back again. SG