Sounds from The Smoke

[Serial_Apologist]

Just this moment receiving a Friend request from somebody on the London jass scene, (yes, I can't believe it either!) scrolling down through his list of friends I came across the name of that excellent sax player Denys Baptiste. He uses the Facebook name Denys Boptaste! Good innit, eh??

[Serial_Apologist]

Good review of recent Penny Rimbaud gig at the Vortex I was sadly unable to attend, in which, alongside the excellent Liam Noble, he paid tribute to Wilfred Owen.

http://www.londonjazznews.com/2017/12/review-penny-rimbauds-what-passing.html?m=1

Anarcho-Revisionist Punks may recall Penny as nominal leader of the band CrAss, with the A described within a circle - one of the last remaining Stone Age Levellers in Essex, I believe.

There are any number of great reviews on that site - click on HOME and you'll find another one of Henry Lowther's Still Waters, also at Ye Vortexe, last Friday.

[Serial_Apologist]

Contradicting in some ways what I said in agreement with Ian Thumwood on the Paul Jones thread, today's excellent gig down at the Oval Tavern in Croydon's back streets typically packed in its friendly and largely working class regulars, in age spread pretty evenly across the piece from 20s to 70s, to hear the second set by a Chris Biscoe-led quartet, starting out with a very slow, very intense version of "Blues on the Corner", ("Not slow enough" said one wit near me) and concluding, following a sequence of tunes whose titles I couldn't hear Chris announcing from where I was near the bar, but they sounded like Chris's own subtle compositions, with Monk's "Manganese". Chris had the undoubted benefit of his own regulars, longtime associate from the days of Westy's "Cortege" and drummer Dave Barry, and Gareth Williams on the little red keyboard I understand to be a Hammond but which replicates the sound of a 1970s Fender Rhodes, together with that excellent acoustic bassist and associate of Trish Clowes and Ant Law, whom I've mentioned previously on here, Matt Ridley. Whatever it is about this venue that seems to bring out the best in playing, the appreciative, if rather too chatty audience, must have a lot to do with it.

Jazz recommences this coming Wednesday at the Golden Lion, just 2 miles down the hill from me in Sydenham high street, in the first of two gigs so far programmed. People come from far and wide to these gigs, relatively speaking, London being geographically very district focussed, so for instance Camberwell and East Dulwich are considered by each's respective residents as being much farther apart than the mile that acutally separates them. One old bloke of 97 used to come to the Golden Lion and Oval gigs all the way from Sidcup BY BUS! The Golden Lion is notorious for an ice pick murder, Trotsky-style, that took place about 30 years ago in the car park out the rear of the Golden Lion and was never solved - rumours of police cover-up abound, and I am probably being tracked for writing this! Fiona - the girlfriend of drummer John Webb, whose name might be remembered from the 1970s in connection with Graham Collier and Harry Beckett - organises the little that takes place in jazz terms from time to time in this neck o'the woods, so YT was doing some of the plugging for this today. The band is led by that powerful drummer and acolyte of 1970s Brit jazz rock Mark Fletcher, with Jim Hunt, whom I don't know, on sax, Laurence Cottle bass guitar, someone from the Jaco school of bass guitaring, and Kevin Stacey, a guitarist whose playing knocked me out back in the 1980s, and whom I have not heard anything from in the period since. Should be interesting!

[Tenor Freak]

Gareth Williams on the little red keyboard I understand to be a Hammond but which replicates the sound of a 1970s Fender Rhodes

S_A, that is more likely to be made by a Swedish company called Nord which produces a variety of electronic keyboards which do indeed sample various acoustic and electric pianos and organs.

Linkages here if you are interested: http://www.nordkeyboards.com/products

[Serial_Apologist]

S_A, that is more likely to be made by a Swedish company called Nord which produces a variety of electronic keyboards which do indeed sample various acoustic and electric pianos and organs.

Linkages here if you are interested: http://www.nordkeyboards.com/products

Thanks for that information, TS. You could well be right about it being a Nord - one or another of those models are very frequently used when acoustic pianos aren't available at venues, I've noticed; I'll check next time.

[Serial_Apologist]

Just thought I'd let everyone know that I met up with Barbara Thompson yesterday, and that she appeared remarkably well and in good spirits. This was not a jazz gig, but a concert of contemporary chamber music, held at the Landmark Arts Centre in Teddington, a deconsecrated Victorian church where concerts and other gatherings are hosted. The group was Trifarious, consisting of Tim Redpath on clarninets and soprano sax, Rachel Calaminus violin, and Nadine André piano; most of what was played was off their New CD, and of the selection heard I would have to say Barbara's two suites were the most challenging, both in terms of transferring the rhythmic sensibilities and harmonic acerbities of her more adventurous pieces for Paraphernaila and the UJRE to the fully composed arena while at the same time extending both aspects of technique, and in the demands made on the performers, especially the pianist, which is remarkable as the keyboard is not Barbara's "natural" instrument. I so much admire the way in which Barbara has managed to optimise any opportunities "afforded" by her Parkinsons to expanding her own creative potential - a salutary albeit ironic outcome to what might have proved insurmountable for most people. The other pieces reminded me mostly of what in the 1920s would have been classed "novelties" - tamed tango - but not the orange drink - and samba based conventional music, pretty lite fare, I would have to say.

I made the most of never previously having visited the area (apart from a childhood tour of Hampton Court), taking in Strawberry Hill House in the morning - I'll write it up if I can dig out Lat-Literal's places to visit thread. Teddington is pretty swish - in estate agent windows I noted architecturally unremarkable 1920s semis on offer for up to £1.7m - which even astonished Barbara's friend, who lives in the Greenwich/Blackheath area.

[Old Grumpy]

Just thought I'd let everyone know that I met up with Barbara Thompson yesterday, and that she appeared remarkably well and in good spirits. This was not a jazz gig, but a concert of contemporary chamber music, held at the Landmark Arts Centre in Teddington, a deconsecrated Victorian church where concerts and other gatherings are hosted. The group was Trifarious, consisting of Tim Redpath on clarninets and soprano sax, Rachel Calaminus violin, and Nadine André piano; most of what was played was off their New CD, and of the selection heard I would have to say Barbara's two suites were the most challenging, both in terms of transferring the rhythmic sensibilities and harmonic acerbities of her more adventurous pieces for Paraphernaila and the UJRE to the fully composed arena while at the same time extending both aspects of technique, and in the demands made on the performers, especially the pianist, which is remarkable as the keyboard is not Barbara's "natural" instrument. I so much admire the way in which Barbara has managed to optimise any opportunities "afforded" by her Parkinsons to expanding her own creative potential - a salutary albeit ironic outcome to what might have proved insurmountable for most people. The other pieces reminded me mostly of what in the 1920s would have been classed "novelties" - tamed tango - but not the orange drink - and samba based conventional music, pretty lite fare, I would have to say.

I made the most of never previously having visited the area (apart from a childhood tour of Hampton Court), taking in Strawberry Hill House in the morning - I'll write it up if I can dig out Lat-Literal's places to visit thread. Teddington is pretty swish - in estate agent windows I noted architecturally unremarkable 1920s semis on offer for up to £1.7m - which even astonished Barbara's friend, who lives in the Greenwich/Blackheath area.

Thanks for this update S_A and very nice to hear.

I would remind your readers of this fine disc - well worth a purchase!

OG

[Serial_Apologist]

Thanks for this update S_A and very nice to hear.

I would remind your readers of this fine disc - well worth a purchase!

OG

Thanks for that, OG. Just to add, in ref to the "Local Colour" recording "replication" of a few nights ago, it turns out that the live session was planned to be the re-recording of the material on that album. I was a little shocked to hear that one of the tunes had been subjected to four false starts, until finding out that Pete wanted its performance to be "just so" to meet whatever exacting standards he had in mind for a recording.

[Serial_Apologist]

What Cheek!

The Brooklyn-based tenor saxophonist Chris Cheek (b.1968) appeared at The Oval pub in Croydon yesterday afternoon. Simon Woolf, the bass player, seems to be the regular fixture among a range of British backers for the tour that ends tonight at the 606 Club in downtown Chelsea, for which I would have had to cough up £12 and probably been expected to indulge the establishment's menu. As it was, they pass round a beer mug at half time and as always I was warmly thanked for my tenner. In place of the advertised Jim Mullen we had the south coast-based Geoff Simkins on second sax, and a drummer I failed to recognise -sorry. I would have asked Dave Barry, sat beside me with his wife, but it would have seemed undiplomatic, given that Dave, who frequently plays the Oval backing Chris Biscoe, among others, was not the chosen one for this occasion. Simkins was a good choice on alto, his thoughtful early Art Pepper legato approach nicely complementing the American's non-clichéd improvising on the succession of standards plus a few numbers new to me selected. The tenorist's playing I had only previously encountered in more radical associations with the Downtown NY scene, courtesy mainly Brian Morton and Jez Nelson, such as drummer/samplerer Jim Black. But Cheek's own publicity has him down as more of a mainstreamer in the modern sense, so perhaps Joe Lovano provides an adequate comparator. Good though it all was, the performance was marred by a loquacious audience, unusual for that venue, and things didn't take off until the finale, an uptempo version of Dameron's "Hot House".

An idea of Chris Cheek's straight-ahead playing is to be found on the link below - the superstitious should be warned the URL contains three consecutive sixes:

https://www.allmusic.com/album/i-wish-i-knew-mw0000666990

Sorry again - that's fine for the blurb, not for excerpts. This is better, three flying Deutschmen accompanying, and pretty representive:

http:///www.youtube.com/watch?v=y52pJpSoLek

[Ian Thumwood]

SA

I always get Chris Speed and Chris Cheek muddled up. Speed is more usually associated with John Hollenbeck's bands such as the Claudia Quintet but has links with a lot of Downtown groups / musicians like Jim Black , Tim Berne and Bard Shepik. Chris Cheek seems to work in the more contemporary mainstream and has been associated with Paul Motian as well as musicians like Brad Mehldau, Kurt Rosenwinkel and Jorge Rossy. The latter three would probably mean he is off your radar as they are a little bit "bland." . Cheek has also worked with Mark Turner - highly considered by the likes of Bruce but witheringly assessed by new -trumpeter -on the block Jaimie Branch in a comment which basically sums up my impression of many of these musicians. (Motian aside, of course.) I am aware that there are rivalries between musicians and what each coterie hold to be particularly valuable in jazz but Branch's assessment of many New York musicians releasing bland material is symptomatic that some elements of contemporary jazz have been dulled by a lack of originality. Chicagoan Branch is a name to look out for and already recording with all the "right" names such as William Parker, Chad Taylor, Tomeka Reid, Keefe Jackson and Josh Berman.

[Ian Thumwood]

Not Laura Jurd:-

[Serial_Apologist]

Not Laura Jurd:-

Deaf nit Lee NOT laura Jurd!!! Good though, and clever disguise!

Yep, it's confession time Ian - Chris Speed is the one I was confusing Chris Cheek with. Come to think of it, I probably hadn't heard of Chris Cheek until I caught this month's Jazz In London listings! Expecting to see Chris Speed at The Oval would have been surprising, to be honest.

[Serial_Apologist]

The woman who runs monthly jazz gigs locally gushes enthusiastically, greeting regulars still sufficiently robust of age and health with a welcoming hug that contrasts with the somewhat buttoned demeanour she presents on other occasions, making one wonder as to how genuinely meant all the effusiveness might be, or how much an effort to suit her role as hostess. I made my point last night by lifting her off the ground in return. From nowhere her boyfriend appeared demanding to know what all this was about, to which I explained that I thought she was in need of a lift. Keeping the spirit of Doddy alive is the last resort of a certain desperation. When the singer announced her next number, "It Ain't Necessarily So", I told my next door that she had omitted to dedicate it to the re-elected President of Russia. The singer in question is Lily Dior, an Aussie, but not like her fellow countrywoman jazz vocalist Anita Wardell , whose voice is close in tone to Bjork's, but a flamboyant simulacrum, last night in tight zebra-design dress, of the great Sarah Vaughan, on whom she had just been doing a tour, as she put it.

https://www.youtube.com/watch?v=7l1HUM6_K9I

Bass player Geoff Gascoyne was and maybe still is Jamie Cullum's regular; from memory he also bassed for Amy Winehouse. He is "reliable" and a nice guy; as also is Rod Youngs, an American I've praised on here previously, though here he was not given much space to shine beyond drum breaks, swapping fours; nor was pianist Tim Lapthorn, getting to be known on the scene, who is clearly very capable in the ubiquitous Herbie Hancock vein, but not there on this occasion for his full potential. "I've not seen one of those before!" said our host, pointing to the object attached to the piano lid at the left end. "It's a fan - his one fan", I explained to my neighbour. "I know that, but what's that clip thing underneath it?" "Must be his fan base", I answered. Had I not been feeling slightly unwell I might have stayed for the second half, but I left at the interval, along with my neighbour. "Not quite my thing", he'd said. "You're just envious of her hair", I said.

[Lat-Literal]

The woman who runs monthly jazz gigs locally gushes enthusiastically, greeting regulars still sufficiently robust of age and health with a welcoming hug that contrasts with the somewhat buttoned demeanour she presents on other occasions, making one wonder as to how genuinely meant all the effusiveness might be, or how much an effort to suit her role as hostess. I made my point last night by lifting her off the ground in return. From nowhere her boyfriend appeared demanding to know what all this was about, to which I explained that I thought she was in need of a lift. Keeping the spirit of Doddy alive is the last resort of a certain desperation. When the singer announced her next number, "It Ain't Necessarily So", I told my next door that she had omitted to dedicate it to the re-elected President of Russia. The singer in question is Lily Dior, an Aussie, but not like her fellow countrywoman jazz vocalist Anita Wardell , whose voice is close in tone to Bjork's, but a flamboyant simulacrum, last night in tight zebra-design dress, of the great Sarah Vaughan, on whom she had just been doing a tour, as she put it.

https://www.youtube.com/watch?v=7l1HUM6_K9I

Bass player Geoff Gascoyne was and maybe still is Jamie Cullum's regular; from memory he also bassed for Amy Winehouse. He is "reliable" and a nice guy; as also is Rod Youngs, an American I've praised on here previously, though here he was not given much space to shine beyond drum breaks, swapping fours; nor was pianist Tim Lapthorn, getting to be known on the scene, who is clearly very capable in the ubiquitous Herbie Hancock vein, but not there on this occasion for his full potential. "I've not seen one of those before!" said our host, pointing to the object attached to the piano lid at the left end. "It's a fan - his one fan", I explained to my neighbour. "I know that, but what's that clip thing underneath it?" "Must be his fan base", I answered. Had I not been feeling slightly unwell I might have stayed for the second half, but I left at the interval, along with my neighbour. "Not quite my thing", he'd said. "You're just envious of her hair", I said.

I quite like Bjork but am not sure that I like the idea of a jazz singer whose voice is "close in tone" to Bjork's.

There are too many modern folky singer-songwriters who would sound like Bjork if she were on skunk and vodkas.

[Serial_Apologist]

Drummer Jeff Willliams, a protégé of Bob Moses who hails from New York and divides his time between it and London, must almost count now among the veterans, having first become known in his own name for his band from the early 1970s with Dave Liebman (Lookout Farm, with Richie Beirach and Frank Tusa, on ECM). He brings to The Vortex tomorrow night a slightly amended sextet from that displayed in the clip below, for a new CD. Unfortunately I shan't be able to make it, but others might like to get a taste of the talented, fast-maturing Loop Collectivists featured on one number that has echoes of Eddie Harris's Freedom Jazz Dance.

https://www.youtube.com/watch?v=XckxKrhtItk