There’s an awful lot of Keith Jarrett activity at the moment with the release in July of the Belonging Band/European Quartet’s Sleeper, which I’m sure will excite a lot of people, and acts as an even more intense companion piece to Personal Mountains.
Five Impulse! American Quartet albums from 1974-1977 have also been reissued, that’s Back hand, Mysteries, Shades, Byablue and Bop-be.
But the Standards trio has not been forgotten about, although the Lucerne album recorded in July 2009 is not coming out for the time being, although I think that’s a good thing given the amount of Jarrett activity at the moment. Sleeper alone will enchant many’s a Jarrett fan for months and possibly years to come. But hopefully Lucerne won’t be too long in the offing.
I’ve been looking at pictures taken from around the time of the concert by Olivier Bruchez and a few are below.
I’m looking forward to hearing this concert partly because I attended an Abdullah Ibrahim Ekaya concert at the venue last year which completely blew me away.
Listening on CD to the Jarrett release won’t be quite the same as being there but part of the fun is imagining that you were there.
The concert hall has wondrous acoustics and is quite a remarkable venue with an art gallery, smaller hall, and restaurants as part of the complex overlooking Lake Lucerne.
According to unofficial fan site keithjarrett.org the title may be Somewhere, and has long versions of ‘Somewhere’ and ‘Tonight’ from West Side Story.
Photos: Olivier Bruchez
Blue Note president Don Was told the New York Times some weeks ago that Van Morrison was returning to the historic jazz label and details of the album have now emerged.
Titled Born to Sing: No Plan B the album is to come out on 2 October in the States nine years after Morrison’s only outing for Blue Note so far, What’s Wrong With This Picture?
Recorded in Morrison’s home city of Belfast and produced by the singer who plays a special Bluesfest show at the Hammersmith Apollo in London tonight tracks are ‘Open The Door (To Your Heart)’; ‘Going Down To Monte Carlo’; ‘Born To Sing’; ‘End Of The Rainbow’; ‘Close Enough For Jazz’; ‘Mystic Of The East’; ‘Retreat And View’; ‘If In Money We Trust’; ‘Pagan Heart’; and ‘Educating Archie.’
Van Morrison in his Blue Note days (above). The best track from What’s Wrong With This Picture? is ‘Little Village’ as most fans and casual observers know see clip: http://www.youtube.com/watch?v=ot2WQrXXoDU
Cheering news from musicweek.com that Wilton’s Music Hall has received £56,000 from the Heritage Lottery Fund.
The money is to help finance a building project to conserve and protect the venue, the last surviving Grand Music Hall. Grade II listed, the building is at-risk but earlier this year received £700,000 funding from the SITA trust to secure the first phase of a building project. The next step is for the Wilton’s Music Hall Trust to apply for a full £1.6m grant.
The venue has been used in recent years, while full restoration awaits, for gigs that make good use of its intimate and atmospheric surroundings, including an appearance by the great Malian singer/songwriter Rokia Traoré this month, and was used as a location for the basement club scenes of Stephen Poliakoff’s upcoming five-part BBC drama Dancing on the Edge set in the 1930s and the world of the consciousness-changing Louis Lester Band. Stephen Graham
Pictured above: Wilton’s
Amazing line-up at Back2Black from across the diaspora this weekend at the Old Billingsgate Market in east London.
Tomorrow it’s Macy Gray, Luiz Melodia, Linton Kwesi Johnson & Dennis Bovell, Marcelo D2, Baile Funk featuring DJ Sany Pitbull, Passinhos & Fininho, and the Emicida Drum Heads & Pracatum Drumming School.
Saturday sees some huge variety with Roots Manuva, Criolo feat. Mulatu Astatke, Hugh Masekela, Femi Kuti, Fatoumata Diawara, The Story of the Blues feat. Vieux Farka Touré, Lucky Peterson & the Roberto Frejat band, Soul Caribbean, DJ Nepal, Shrine Synchro System, TonoFlavio, Renegado, Candylo, Drum Heads & Pracatum Drumming School again and Sunday features Gilberto Gil, Amadou & Mariam, Martn’nalia, Toumani Diabaté + Arnaldo Antunes + Edgar Scandurra, DJ Joao Brasi, Jupiter & Okwess International, All Comers Drumming Workshop, Afrik Bawantu, Natasha Llerena plus DJs and a full talks programme.
Barack Obama ‘Hope’ 2008 presidential campaign poster graphic designer Shepard Fairey has produced a variant on the Rolling Stones logo to incorporate the 50th anniversary of the founding of the band to be celebrated next year.
Stones logo (top) and Shepard Fairey
Vijay Iyer won in a remarkable five categories of the Downbeat international critics poll, just unveiled by the prestigious US jazz magazine’s website.
The pianist was named jazz artist of the year, won top album for trio release Accelerando, and voted top pianist. His trio picked up the top jazz group accolade, and Iyer also won in the much coveted rising star composer category.
Vijay, who lives in New York city and grew up in New York state, was last in the UK with his trio for a two-night run at the Vortex club in London on 1-2 May a few days ahead of his cutting edge improv band Fieldwork’s appearance at the Cheltenham Jazz Festival. Since then in his capacity as the incoming director of the Banff international workshop in jazz and creative music in Canada he attended this year’s workshop before taking over officially next year.
Iyer will be back in the UK it’s understood for an appearance at the beautiful Bishopsgate Institute, close to Liverpool Street station, for a concert the date of which is still to be confirmed, a venue that will allow more people to hear him and the trio perform.
What Iyer with bassist Stephan Crump originally from Memphis, Tennessee, and powerhouse drummer Marcus Gilmore, habitually achieve in performance is quite astonishing and their impact has spread word of mouth and by the originality of their albums across Europe so that they have become a popular jazz club draw across the continent. Take say the way they interpret Herbie Nichols’ skittering ‘Wildflower’ from Accelerando, or ‘Galang’ (creating their “trio riot version”) the MIA song from the trio’s ACT album Historicity. It’s a revelation.
Vijay Iyer (above). Photo: Jimmy Katz
Hard bop falls in and out of fashion in rapid cycles.
But the style has become a hardy perennial with sufficient scope for reinvention as well as reinforcement of the staple Blue Note/Prestige “golden era" period in the late-1950s and early-1960s.
Appearing on the London scene some five years ago as one of the then current crop of Tomorrow’s Warriors artists in the making that included Zem Audu and Shabaka Hutchings (heard incidentally to effect on the Jazz Line-Up show last night on Radio 3) Mark Crown has made giant leaps of late.
Along with someone like Andy Davies who leads the jazz jam in Ronnie’s Bar on Wednesdays (although Andy comes out of the Kenny Dorham lineage while Mark is more from the Clifford Brown school), he proves the point that hard bop is relevant to a younger generation who bring new ideas to the style and avoid being too knowingly retro. Check him out here http://www.youtube.com/watch?v=fQnhtGxC0Jk, and if you want to hear Mark in person with his new band he’s playing tonight with his Sack o’ Woe Quintet in a bill that also includes prog organ trio Troyka and avant garde pianist Howard Riley.
What kind of place must Milo’s in Leeds be? You can make an educated guess by listening to a clip of Roller Trio playing ‘The Nail That Stands Up’ on YouTube and you would in all probability be completely wrong, because there’s only so much you can glean from a bit of murky video captured in some unknown club in a faraway place that you might only ever visit if the arbitrariness of life takes you there.
One thing though that the video (http://www.youtube.com/watch?v=EsIm_SKzvuQ) does convey is the sharp scuzzy attack of the band that bristles with one thing a lot of super educated young jazz polite boys often lack: attitude, the kind of Only This Matters Ever attitude of a Paul Weller on form, a Roy Hargrove when he’s totally gone, or an Andrew Plummer in the dystopian depths of his stage persona when nothing else counts.
Roller first surfaced by winning the Whittingham, the prize that has spotted noted talents of the order of Soweto Kinch and World Service Project. The Roller boys are electronicist/tenor saxophonist James Mainwaring, guitarist Luke Wynter and drummer Luke Reddin-Williams, and in case you haven’t flicked up the clip or checked them out on Soundcloud, like to dip their toes in garage rock, and blend it with the brooding beats beloved of the Bristol scene, and up to the minute dubstep routines spliced with an on-the-fly improvising candour.
They’re featured as part of the BBC Introducing night at Band on the Wall in Manchester on 16 July along with new bands Dakhla, im Quartet, and Eyes Shut Tight. Worth buying their debut album if you can get hold of a copy.
A rare sighting: A few years ago John Garfield ran an excellent Sunday afternoon session in what was then called the iBar, now the Stone Marquee, in Whetstone, north London.
A jazz singer in the tradition of Frank Sinatra, every week for about nine months he appeared in residence as singer and MC with his swinging trio and guests of the calibre of Liane Carroll, Sebastiaan de Krom, Robin Jones, and Frank Holder, plus many more.
The atmosphere was convivial, fun, slightly unusual in an old school way, and a lot of this was to do with John.
In his heyday John made more than 200 broadcasts with the BBC Radio Orchestra, and Midland Light Orchestra.
Jazz standards in his hands are not like those performed by someone going through the motions: the songs mean something.
Garfield manages to make the songs come alive as if each line was a character, someone you know, or a set piece in a drama that like life itself you could have lived through.
At slow tempos, and still now when he’s well into his eighties Garfield has the kind of poise that young crooners like Alexander Stewart and Anthony Strong aspire to and even Jamie Cullum would admire the artistry of.
In New York Garfield performed with Dakota Staton, and worked as a staff writer with music publishers, and back in London recorded a tribute album to Sinatra at Abbey Road, with an orchestra arranged by Dave Lindup better known as writer of the theme music for classic TV sitcom Rising Damp and as a collaborator with John Dankworth. He professes a great admiration for Lena Horne, who he also performed with, as well as Bing Crosby in the unlikely venue in Bing’s case of the back of a cab!
John is guesting with the quartet of Derek Nash, Graham Harvey, Len Skeat and Neil Bullock on a few numbers for Jazz at The Comedy Club, in the George IV pub, 185 High Road, in Chiswick on Wednesday night.
I’d read The Bosphorus Dogs: it raised funds successfully through Kickstarter last year, but it won’t be published until 2015 apparently. Why so long? Who knows.
But we do know it’s a “character-driven, literary novel set in Turkey, mostly in Istanbul", according to Zabor, that begins in September 2003.
Three main characters, an American expat in his fifties, now teaching in a local college; his estranged grown up daughter; and a Israeli friend of the expat’s, are the main engine for the action. The intriguing bit based on this tiny summary is the last of the three, as he or she (Zabor leaves it open so far) may or may not be a stringer for Mossad.
Zabor says “Istanbul’s roving dog packs do get a mention and a look, but the title refers more generally to anyone who has come to Byzantium-Constantinople-Istanbul for a scrap of its old and new glories and a richer sense of life."
I’m a big fan of The Bear Comes Home, Zabor’s earlier much celebrated novel about a saxophone-playing bear. If you like any author, and appreciate the style, sincerity and energy of the writing, the little indulgences, quirks and irregularities, particularly someone as funny, engaging and knowing as Zabor, then the subject matter is less important.
If it corresponds with something you’re interested in deeply than it’s even better. But he could write about marmalade or gorse bushes or tiny little trinkets or great big sculptures and I’d probably read it. I won’t even be too disappointed if it is a dog: promise. Stephen Graham