Isn't Rochford in Esex? Nah, he's on Radio Freeness.

[Serial_Apologist]

Sat 9 Nov
11.45am - Music Matters
[...] Tom also celebrates 50 years of the independent jazz and clasical label ECM Records ...

5pm - J to Z
Jumoké Fashola presents a concert by genre-stradding, Grammy-winning Brooklyn-based Snarky Puppy, recorded in late June at the Montreux Jazz Festival. And British pianist, solo and Snarky Puppy veteran Bill Laurence shares tracks that have inspired him.

What will people think?

http://www.bbc.co.uk/programmes/m000b6pp

12midnight - Freeness
Corey Mwamba with the latest sounds, featuring drummer Seb Rochford's band Pulled by Magnets, Frisk Frugt (of experimental collective Yoyooyoy*), and the Steve Lehman Trio..

*I bet they get their ups and downs.

http://www.bbc.co.uk/programmes/m000b74w

Sun 10 Nov
4pm - Jazz Record Requests

http://www.alynshipton.co.uk/blog

Radio 4 - Thurs 13 Nov
11pm - Twayna Mayne: Black Woman
2/4 Identity and Representation
Comedian Twayna Mayne explores the story of her identity as a black British woman. This time, she searches for role models to help her create her own Black British female identity. With contributions from Pauline Black of the 2 Tone band the Selecter, and writer Danielle Dash.


Fri 15 Nov
11pm - J to Z Late:
Live from the London Jazz Festival
Jumoké Fashola presents a special edition of J to Z from the opening night of the London Jazz Festival. She's joined by exciting new artists including Nigerian trumpeter Etuk Ubono, vocalist Madison McFerrin and trombonist Rosie Turton (of London collective Nérija).

http://www.bbc.co.uk/programmes/m000b7x4

Followed by...

1am - Jazz All Night

An aural feast for insomniacs, or those with 6 precious spare hours to catch up on.

Meanwhile, on BBC 4:
Fri 15 Nov
9.30pm Blue Note Records: Beyond the Notes.
Behind-the-scenes- documentary [2018] exploring the history of the pioneering jazz label Blue Note, centred around a contemporary studio session featuring Robert Glasper, Marcus Strickland and Herbie Hancock. Contributors include veteran artists and new kids on the block, as well as the label's current president Don Was.

[Ian Thumwood]

[B]Sat 9 Nov


5pm - J to Z
Jumoké Fashola presents a concert by genre-stradding, Grammy-winning Brooklyn-based Snarky Puppy, recorded in late June at the Montreux Jazz Festival. And British pianist, solo and Snarky Puppy veteran Bill Laurence shares tracks that have inspired him.

What will people think?

SA

Snarky Puppy have come up on this board before and not generated a lot of interest here. I must admit, I never appreciated that Bill Laurance was English but this is a group that have largely passed me by. They seem like a 2000's answer to Medeski,, Martin and Wood but whereas MMW have a foot firmly encamped in the avant garde, I have never felt that the Puppy crew had the cache of the other band. There has always been room for a "funk" element within jazz and MMW always seemed to bridge the gap between groove and "outside" improvisation better than anyone else since Herbie Hancock. SP are just too close to pop for my liking.

I have seen clips on YouTube of Snarky Puppy and was really surprised that the have any credibility within jazz circles. There is improvisation in the mix and the idea of an improvising big band always seems appealing. However, the line up is inundated with keyboards to the extent that it is difficult to disentangle what is going on. The horns don't really function beyond what you might find in say a Phil Collins record. There is also a propensity to work with artists outside of the jazz spectrum and whilst I don't mind collaborations with the likes of Laura Mvula, in pure jazz terms they seem an absolute non-event. I caught them live for the first time this summer and went to the gig with an open mind. However, I heard nothing that really convinced me to change my mind. They seem like a talented bunch of music students trying to sound hip but effectively just tossing it off. I find it really retrograde and the opposite of more genuine,, questing jazz. In these media-savvy days, there are plenty of musicians out there who are of the same mindset and I would include the likes of Robert Glasper and Terrace Martin in the category. This stuff is incredibly underwhelming although I would add that I am sure it is aimed at a younger market of fans who are certain to be under 35 years old and will judge things with totally different criteria. I cannot see the likes of Snarky Puppy cutting the ice with anyone who has grown up with bop / post-bop.

It is curious to consider a group like Snarky Puppy at a time when a label like ECM is celebrating it's 50th anniversary. ECM had produced some duds yet I think there has been a genuine attempt of the label to encourage artists to experiment and be creative. SP are just a glorified pop group to my ears and it is a sad indictment of the state of jazz in some quarters that SP have so much Kudos because their concept of innovation is to bolt on African / folk / soul artists to the band. That said, I don't think they will have any lasting impact on jazz and are just a passing fad rather like EST. To be honest, I would pretty much predict that the likes of yourself, Bluesnik, Jazzrook and Elmos will be unimpressed. I would be keen to get your impression and, as a fan of fusion, see if your take is any different. (Assuming you can set aside any thoughts of my reservations.)

[Alyn_Shipton]

All looks a bit deja vu to me, we had Snarky Puppy on Jazz Now in March 2017 and Laurance in June 2016.

[Old Grumpy]

Deja entendu, surely?

[Quarky]

At least topical- Snarky Puppy currently touring UK:

https://snarkypuppy.com/tour Seats available at RAH. If you miss it never mind, they will be issuing a CD - Snarky Puppy live at the RAH!

I believe they will be promoting their latest album Immigrance:

https://www.youtube.com/watch?v=tmeJsETS-Yk&list=PLJNbijG2M7OyDRosfmLe0MXlF_sM0vCW9

[Richard Barrett]

Esex? Do you have an e-cigarette afterwards?

[Joseph K]

Esex? Do you have an e-cigarette afterwards?

[Old Grumpy]

Esex? Do you have an e-cigarette afterwards?

Don't know, never looked!

[CGR]

Snark Puppy are not my cup of Rosie-Lea either

[Serial_Apologist]

Esex? Do you have an e-cigarette afterwards?

Only when she was in her Freudian slip.

[Serial_Apologist]

SA

Snarky Puppy have come up on this board before and not generated a lot of interest here. I must admit, I never appreciated that Bill Laurance was English but this is a group that have largely passed me by. They seem like a 2000's answer to Medeski,, Martin and Wood but whereas MMW have a foot firmly encamped in the avant garde, I have never felt that the Puppy crew had the cache of the other band. There has always been room for a "funk" element within jazz and MMW always seemed to bridge the gap between groove and "outside" improvisation better than anyone else since Herbie Hancock. SP are just too close to pop for my liking.

I have seen clips on YouTube of Snarky Puppy and was really surprised that the have any credibility within jazz circles. There is improvisation in the mix and the idea of an improvising big band always seems appealing. However, the line up is inundated with keyboards to the extent that it is difficult to disentangle what is going on. The horns don't really function beyond what you might find in say a Phil Collins record. There is also a propensity to work with artists outside of the jazz spectrum and whilst I don't mind collaborations with the likes of Laura Mvula, in pure jazz terms they seem an absolute non-event. I caught them live for the first time this summer and went to the gig with an open mind. However, I heard nothing that really convinced me to change my mind. They seem like a talented bunch of music students trying to sound hip but effectively just tossing it off. I find it really retrograde and the opposite of more genuine,, questing jazz. In these media-savvy days, there are plenty of musicians out there who are of the same mindset and I would include the likes of Robert Glasper and Terrace Martin in the category. This stuff is incredibly underwhelming although I would add that I am sure it is aimed at a younger market of fans who are certain to be under 35 years old and will judge things with totally different criteria. I cannot see the likes of Snarky Puppy cutting the ice with anyone who has grown up with bop / post-bop.

It is curious to consider a group like Snarky Puppy at a time when a label like ECM is celebrating it's 50th anniversary. ECM had produced some duds yet I think there has been a genuine attempt of the label to encourage artists to experiment and be creative. SP are just a glorified pop group to my ears and it is a sad indictment of the state of jazz in some quarters that SP have so much Kudos because their concept of innovation is to bolt on African / folk / soul artists to the band. That said, I don't think they will have any lasting impact on jazz and are just a passing fad rather like EST. To be honest, I would pretty much predict that the likes of yourself, Bluesnik, Jazzrook and Elmos will be unimpressed. I would be keen to get your impression and, as a fan of fusion, see if your take is any different. (Assuming you can set aside any thoughts of my reservations.)

Can't disagree with anything there!

[eighthobstruction]

....I generally LIKEE Freeness - Cutting Edge Jazz ....and LIKEE LIKEE Coey Mwamba [and his ordinary voice]....particularly LIKEE :Luciua Cadotsch and Julian Sartorious +++Sloth Racket ....

[Serial_Apologist]

....I generally LIKEE Freeness - Cutting Edge Jazz ....and LIKEE LIKEE Coey Mwamba [and his ordinary voice]....particularly LIKEE :Luciua Cadotsch and Julian Sartorious +++Sloth Racket ....

Sloth Racket will probably be on the Barbican Free Stage on Saturday 23rd as they're participants in the Lume Collective presentation. Luvverly bunch of coconuts, they all are. (Actually, I think Johnny Hunter (?) their drummer, hails from Manchester).

[Serial_Apologist]

Snark Puppy are not my cup of Rosie-Lea either

The Snarky track played just now reminded me more than anything else of the sort of car chase music Laurie Johnson composed for The Professionals back in the mid-1970s. And I have to say the Matthew Hallsall "tribute" to poor Alice Coltrane sounded just mechanical - more Dave Brubeck Take 3 than the wonderful floatyness Alice C achieved with her 1970s line-ups. The Dorothy Ashby that followed was more interesting - a new name to me.

[burning dog]

The Snarky track played just now reminded me more than anything else of the sort of car chase music Laurie Johnson composed for The Professionals back in the mid-1970s. .

The Sweeney music was better, went with the rough pubs featured in the series, corny but apt - Was that music by Johnson? I know it was the Harry South band.

Classier "fusiony" stuff from the time of the first Sweeney series.

PS Why are Snarky Puppy called "genre busting" when those fusions are part of jazz history?

PPS Dorothy Ashby gained wide exposure by working with Stevie Wonder