Radio 3's Breakfast have been playing several versions of 'Summertime'
Haven't heard this haunting one on the programme:
JR
Haven't heard this haunting one on the programme:
JR
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‘It’s About Time’ - Clark Terry
with Jimmy Hamilton, Britt Woodman, Tommy Flanagan Wendell Marshall & Mel Lewis
Swingville (1961)Comment
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I picked up a copy of the 2018 CD by Jake Long's group, "Maisha. " The line-up features two other percussionists along with the drummer-leader plus Nubya Garcia on tenor and flute. This album was featured on J-Z and the feel is very much akin to Pharoah Sanders and Kamasai Washington albeit the use of strings to flesh out the harmony is very subtle. As a whole, I don't think that the music is quite as over-blown as these two and I suppose is something where the groove is paramount. The line up also includes the Benson-influenced guitar of Shirley Tetteh. It is difficult not to enjoy this up-lifting music.
The player who really impresses is Nubya Garcia. I keep seeing her name mentioned and she has appeared on programmes like J-Z as well as the retro version of "Jazz 625" which was on BBC last year. Someone mentioned this week that they were tired on Jazzwise's endless chasing of the "the next big thing" in jazz and it is fair enough so say that a lot of the younger generation of British players are getting a lot of media attention, not only in the UK but also on American websites such as "All about jazz" and "Downbeat." On the basis of her playing on the Maisha disc, I have to say that Garcia is hugely impressive. Her tone reminded me very much of Harold land and the impact of her saxophone is what immediately grabs you about this record. I believe that there is a new album on Concord next month. All of a sudden, Nubya Garcia is hitting the big time and I honestly think she is worthy of the hype. The disc also features Sheila Maurice-Gray's band "Kokoroko" who are fantastically entertaining live. (She is also a really talented soloist. If you like Lee Morgan, you will like her playing.)
It is surprising how little this music is discussed on this board. I can appreciate that jazz fans tend not to appreciate it when music is really hyped up and also that any associations with Gilles Peterson are likely to get most people running to the hills but I have to say this new generation of British jazz musicians is the real deal. Previously I had been extremely impressed with Cassie Kinoshi and must have played her SEED Ensemble album to death whilst working from home. Similarly, I felt hat Ashley Henry's trio at last year's Winchester Jazz Festival was a revelation. Plenty here for more discerning jazz fans like Bluesnik, Elmo and Bruce to get their teeth in to and this new generation of players certainly wear their hearts on their sleeves - a marked contrast to ten years ago where musicians seemed to be going out of their way to say that there weren't playing jazz!
Bluesnik might like to learn that British saxophonist Binker Golding is now featured on the new album by trumpeter Charles Tolliver...
Interesting to see that this latest generation of British players are now getting international recognition from the highest levels.
Wondered what SA's opinion was of these players seeing as he is more savvy of the current London scene than anyone else on this board ? From what I have heard so far, this sounds like a step change in British jazz.Comment
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Rob Brown Quartet with Roy Campbell, William Parker, Hamid Drake playing 'Trio Unsprung' from 'The Big Picture'(Marge 2004):
JRComment
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‘Heavy!!!’ - Booker Ervin Sextet
Booker Ervin with Jimmy Owens, Garnett Brown Jaki Byard, Richard Davis, Alan Dawson
Blue Note (1966)Comment
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Disk 6 of the John Coltrane European Tour '62 box.Comment
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I must try & get back to you on this, Ian. Apologies for bad manners, and delay.Originally posted by Ian Thumwood View PostI picked up a copy of the 2018 CD by Jake Long's group, "Maisha. " The line-up features two other percussionists along with the drummer-leader plus Nubya Garcia on tenor and flute. This album was featured on J-Z and the feel is very much akin to Pharoah Sanders and Kamasai Washington albeit the use of strings to flesh out the harmony is very subtle. As a whole, I don't think that the music is quite as over-blown as these two and I suppose is something where the groove is paramount. The line up also includes the Benson-influenced guitar of Shirley Tetteh. It is difficult not to enjoy this up-lifting music.
The player who really impresses is Nubya Garcia. I keep seeing her name mentioned and she has appeared on programmes like J-Z as well as the retro version of "Jazz 625" which was on BBC last year. Someone mentioned this week that they were tired on Jazzwise's endless chasing of the "the next big thing" in jazz and it is fair enough so say that a lot of the younger generation of British players are getting a lot of media attention, not only in the UK but also on American websites such as "All about jazz" and "Downbeat." On the basis of her playing on the Maisha disc, I have to say that Garcia is hugely impressive. Her tone reminded me very much of Harold land and the impact of her saxophone is what immediately grabs you about this record. I believe that there is a new album on Concord next month. All of a sudden, Nubya Garcia is hitting the big time and I honestly think she is worthy of the hype. The disc also features Sheila Maurice-Gray's band "Kokoroko" who are fantastically entertaining live. (She is also a really talented soloist. If you like Lee Morgan, you will like her playing.)
It is surprising how little this music is discussed on this board. I can appreciate that jazz fans tend not to appreciate it when music is really hyped up and also that any associations with Gilles Peterson are likely to get most people running to the hills but I have to say this new generation of British jazz musicians is the real deal. Previously I had been extremely impressed with Cassie Kinoshi and must have played her SEED Ensemble album to death whilst working from home. Similarly, I felt hat Ashley Henry's trio at last year's Winchester Jazz Festival was a revelation. Plenty here for more discerning jazz fans like Bluesnik, Elmo and Bruce to get their teeth in to and this new generation of players certainly wear their hearts on their sleeves - a marked contrast to ten years ago where musicians seemed to be going out of their way to say that there weren't playing jazz!
Bluesnik might like to learn that British saxophonist Binker Golding is now featured on the new album by trumpeter Charles Tolliver...
Interesting to see that this latest generation of British players are now getting international recognition from the highest levels.
Wondered what SA's opinion was of these players seeing as he is more savvy of the current London scene than anyone else on this board ? From what I have heard so far, this sounds like a step change in British jazz.Comment
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Was listening yesterday to Tipping Point in a belated effort to catch up with discs I'd bought over the past few years. This goes by way of a response to Ian's asking after my views on Kinoshi and others current on the London scene, whom I had drawn attention to about a year ago in some linked publicity to what was going on here, because in a way it squares something of a circle. For all the enthusiasm I find much of their music stylistically and musically thin. Tipping Point draw inspiration from experimental and free improv, making to my ears highly creative and consequent uses of technology to extend on the range of sonorities to be interacted with. One might be reminded of parts of Bitches Brew in the above example - a live version of the album's first track, recorded in studio back in 2015 - with more than a bit of edge appropriate to today, while at the same time utilising resources back then available only in post-production, using the studio as an extra instrument, as used to be said (and maybe still is).
It's worth re-iterating that the music is as much pre-structured as it is free-improvised, fulfilling Ian's oft-mentioning that so much of today's jazz being pre-composition-led: he's right! - note the extreme tightness of the closing part of this - and at the same time mine that the improvised has always the primogeniture in the driving seat longer-term. This was also apparent in The Roller Trio of a few years before Tipping Point, the sax-cum-electronics/guitar/drums trio also involving Mainwaring, which I had inaccurately and unfairly labelled as Punk Jazz. I'm glad I kept their CD - by 2018 they seemed to have been moving away from Metal and closer to ideals embodied in Tipping Point, with a personnel change. Bourne is someone I myself rate quite highly - as evidently did Keith Tippett! Here are the Rollers, back in 2014, still under the influence of Polar Bear in all their sweet innocence!!!
Not all Tipping Point's output is as heavy as may be suggested: here is a short video put out with their release, showing their more playful side, "The Earthworm's Eye View":
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I was privy to the first link you provided for the Roller Trio and I wasn't too impressed.Originally posted by Serial_Apologist View PostWas listening yesterday to Tipping Point in a belated effort to catch up with discs I'd bought over the past few years. This goes by way of a response to Ian's asking after my views on Kinoshi and others current on the London scene, whom I had drawn attention to about a year ago in some linked publicity to what was going on here, because in a way it squares something of a circle. For all the enthusiasm I find much of their music stylistically and musically thin. Tipping Point draw inspiration from experimental and free improv, making to my ears highly creative and consequent uses of technology to extend on the range of sonorities to be interacted with. One might be reminded of parts of Bitches Brew in the above example - a live version of the album's first track, recorded in studio back in 2015 - with more than a bit of edge appropriate to today, while at the same time utilising resources back then available only in post-production, using the studio as an extra instrument, as used to be said (and maybe still is).
It's worth re-iterating that the music is as much pre-structured as it is free-improvised, fulfilling Ian's oft-mentioning that so much of today's jazz being pre-composition-led: he's right! - note the extreme tightness of the closing part of this - and at the same time mine that the improvised has always the primogeniture in the driving seat longer-term. This was also apparent in The Roller Trio of a few years before Tipping Point, the sax-cum-electronics/guitar/drums trio also involving Mainwaring, which I had inaccurately and unfairly labelled as Punk Jazz. I'm glad I kept their CD - by 2018 they seemed to have been moving away from Metal and closer to ideals embodied in Tipping Point, with a personnel change. Bourne is someone I myself rate quite highly - as evidently did Keith Tippett! Here are the Rollers, back in 2014, still under the influence of Polar Bear in all their sweet innocence!!!
Not all Tipping Point's output is as heavy as may be suggested: here is a short video put out with their release, showing their more playful side, "The Earthworm's Eye View":
http://www.youtube.com/watch?v=KAKXdSm5DeA
But I've just put on the half-hour recording now. I quite liked the video of Tipping Point, though I admit I found the interview excerpts a bit superfluous (would have preferred just music).
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Indeed - bad choice of that initial clip based on a few seconds' worth of listening. I had to reach for the Tippex!Originally posted by Joseph K View PostI was privy to the first link you provided for the Roller Trio and I wasn't too impressed. But I've just put on the half-hour recording now. I quite liked the video of Tipping Point, though I admit I found the interview excerpts a bit superfluous (would have preferred just music).Comment
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‘Down with It!’ - Blue Mitchell
with Junior Cook, Chick Corea, Gene Taylor, Al Foster
Blue Note (1965)Comment
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‘The Waiting Game’ - Tina Brooks
with Johnny Coles, Kenny Drew, Wilbur Ware & Philly Joe Jones
Blue Note (1961)Comment
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A 19-year-old Lee Morgan with Sonny Clark, Doug Watkins & Art Taylor playing Jimmy Heath's 'C.T.A.' in 1958 from the overlooked album 'Candy':
JRComment
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Disk 7 now.Originally posted by Joseph K View Post
edit - well, that was the best version of 'Traneing In' that I've so far listened to...Comment
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