Yeoh! - the butcher stole my cherry!

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  • Serial_Apologist
    Full Member
    • Dec 2010
    • 38184

    Yeoh! - the butcher stole my cherry!

    Sat 25 Jan
    5pm - J to Z


    Kevin Le Gendre introduce [sic] Scottish bassist Calum Gourlay and his quartet in a live performance of new material. And UK jazz pianist Nikki Yeoh, who has worked with Courtney Pine, Neneh Cherry and the Roots, discusses her music influences including pianist MCcoy Tyner.

    Live music from Scottish bassist Calum Gourlay plus pianist Nikki Yeoh's inspirations.


    10pm New Music Show

    Includes Eliane Radigue's Occam River XV, performed by sometimes jazz musicians Angharad Davies (violin) and Dominic Lash (double bass). Ms. Radigue has worked in the past with Kate Westbrook.

    12midnight - Freeness
    Corey Mwamba with exploratory improvisation from Newcastle upon Tyne trio Taupe, and music by John Butcher and Steve Beresford.

    There's a council block just down the road here named after Steve - Beresford House. And we have Max Roach Park not far away in Brixton - not that anybody's ever heard of him*.

    High-energy exploratory improvisation and razor-sharp polyrhythms hosted by Corey Mwamba.


    Sunday 26 Jan
    4pm - Jazz Record Requests


    Alyn Shipton with a playlist including Louis Armstrong, Wayne Shorter and Norma Winstone.

    And there's a even Shorter Avenue in Essex! Welcome back, Alyn, by the way.



    All next week, Radio 4 broadcasts a 5-part play, starting nightly on Monday at 7.45pm, titled Riot Girls: Trumpet.

    The Radio Times blurb for the first episode reads as follows:

    Tanika Gupta's dramatisation of Jackie Kay's novel, starring Maureen Beattie, Enyi Okoronkwo and Adjoa Andoh. When celebrated jazz trumpeter Joss Moody dies, his adopted son Colman makes an extraordinary discovery - the man he adored as his father was, in fact, a woman.

    Just thought I'd include this as it's on a jazz theme, ostensibly. Make of that what you will...

    *Just as an aside, Max Roach Park was constructed in 1986 from an open space vacated after the demolition of a Victorian terrace in adjacent Villa Road - ironically the site of a large squatters' occupation in the 1970s and early 1980s that had successfully managed to delay Lambeth Council's repeated efforts to evict them, including destroying interior fittings and fixtures, smashing up the WCs and filling main drains with concrete. The squatters had managed to dig up and replace the latter, and carried out enough remedial work on the properties to make them sufficiently habitable to accommodate homeless people. The squats were run autonomously on co-operative lines, and included a women's refuge and a free-to-users alternative psychotherapy centre. The occupants barricaded themselves well in so that it took several violent offensives by police and council workers to evict them. One of the residents composed a moving Requiem in commemoration. There was some great as well as not so great street art. Eventually some of the properties were established long-term as parts of housing associations; the 1860s terrace on the southern half of the street was demolished in its entirety to make way for the park. I asked how and by whom the park's name had been decided, and he told us the council put the issue out to its staff, and somebody who just happened to be a jazz fan came up with it. Come and visit! Below are some pictures of the location, taken in recent years:

    Running parallel to Brixton Road, from Loughborough Road to St John’s Crescent, Max Roach Park is a small Brixton park with a large play area for kids.
  • Ian Thumwood
    Full Member
    • Dec 2010
    • 4361

    #2
    I wasn't too fussed by the Calum Gourlay quartet. Like a lot of jazz you hear today, the musicians are technically brilliant yet I wasn't moved by it.

    Comment

    • Ian Thumwood
      Full Member
      • Dec 2010
      • 4361

      #3
      Originally posted by Serial_Apologist View Post
      *Just as an aside, Max Roach Park was constructed in 1986 from an open space vacated after the demolition of a Victorian terrace in adjacent Villa Road - ironically the site of a large squatters' occupation in the 1970s and early 1980s that had successfully managed to delay Lambeth Council's repeated efforts to evict them, including destroying interior fittings and fixtures, smashing up the WCs and filling main drains with concrete. The squatters had managed to dig up and replace the latter, and carried out enough remedial work on the properties to make them sufficiently habitable to accommodate homeless people. The squats were run autonomously on co-operative lines, and included a women's refuge and a free-to-users alternative psychotherapy centre. The occupants barricaded themselves well in so that it took several violent offensives by police and council workers to evict them. One of the residents composed a moving Requiem in commemoration. There was some great as well as not so great street art. Eventually some of the properties were established long-term as parts of housing associations; the 1860s terrace on the southern half of the street was demolished in its entirety to make way for the park. I asked how and by whom the park's name had been decided, and he told us the council put the issue out to its staff, and somebody who just happened to be a jazz fan came up with it. Come and visit! Below are some pictures of the location, taken in recent years:

      http://www.brixtonbuzz.com/2018/05/i...n-jazz-drummer
      Am I supposed to be impressed

      Map multiple locations, get transit/walking/driving directions, view live traffic conditions, plan trips, view satellite, aerial and street side imagery. Do more with Bing Maps.

      Comment

      • BLUESNIK'S REVOX
        Full Member
        • Dec 2010
        • 4353

        #4
        Originally posted by Ian Thumwood View Post
        I wasn't too fussed by the Calum Gourlay quartet. Like a lot of jazz you hear today, the musicians are technically brilliant yet I wasn't moved by it.
        I found it OK, I liked his bass sound. It reminded more than anything (far more than any "Mingus" echoes) of Jimmy Giuffre's 50s "folkish" trio stuff with Brookmeyer. The other tracks on that program seemed bland as hell, at least those I heard.

        Comment

        • Serial_Apologist
          Full Member
          • Dec 2010
          • 38184

          #5
          Originally posted by Ian Thumwood View Post
          You are, of course, being serious?????!!!!!

          Anyway, I do rather agree with your assessment of the Calum Gourlay Quartet. His big band appeared regularly (nearly monthly) at the Vortex last year, and I always managed to miss it, but not by intention to avoid. But I thought today's J to Z was otherwise pretty good, especialy when it came to Nikki Yeoh's turn to present her selected tracks. I was on here reading another thread when her first choice came on, and could have sworn it was Geri Allen until she post-announced Joanna Brackeen, who I haven't admittedly kept up to date with since first coming across her playing in the late 1970s. Ms Yeoh had some pertinent things to say about the influence of "that way of playing" on her own, which apply also in ways that hadn't occurred to me with regards to tuned instruments in a funk context setting the basic rhythm so as to optimise the drummer's freedom to elaborate around it - something which in the early days would have been the other way around, surely? The "implacability" of the downbeat? Also she said nobody had previously played piano the way McCoy Tyner did, which got me thinking Bill Evans was really the one to introduce those chords of superimposed fourths in "So What", but Tyner reapply applied that approach with added energy. She also spoke generously about Ian Carr who ran the sessions at WAC that brought musicians such as herself, Julian Joseph, Django Bates and Ed Jones together at the start of the 1980s. There may even still be some youtube of this, which I'll try and find to dig up.

          Comment

          • Ian Thumwood
            Full Member
            • Dec 2010
            • 4361

            #6
            Originally posted by BLUESNIK'S REVOX View Post
            I found it OK, I liked his bass sound. It reminded more than anything (far more than any "Mingus" echoes) of Jimmy Giuffre's 50s "folkish" trio stuff with Brookmeyer. The other tracks on that program seemed bland as hell, at least those I heard.
            The Lakecia Benjamin track was interesting as the tune was the spiritual from the Dvorak "New World Symphony." Listening to it on the way back from football, I was thinking how "nice" this sounded and then it struck me as odd how when I was discovering more progressive styles of jazz in the 1980s, I often had to work towards appreciating it. A degree of effort had do be expended to grasping what was going on. In their original music, the clout expressed in the jazz of Mr & Mrs Coltrane was visceral. The LB record was almost too easy to listen to albeit very pleasant. I am not sure what is going on. Are my tastes changing or is it a case that what is deemed to be "cutting edge" in J-Z is actually deeply conservative.

            It made me think about what was the last jazz recording that I found shocking or required attention to get in to. ("The shock of the new?") The last Henry Threadgill record is probably the most recent although I think it was a lot of the music coming out of Chicago about 5 years ago which sounded inherently "unsafe."

            Comment

            • Serial_Apologist
              Full Member
              • Dec 2010
              • 38184

              #7
              Originally posted by BLUESNIK'S REVOX View Post
              I found it OK, I liked his bass sound. It reminded more than anything (far more than any "Mingus" echoes) of Jimmy Giuffre's 50s "folkish" trio stuff with Brookmeyer. The other tracks on that program seemed bland as hell, at least those I heard.
              I was hearing as well a polite version of the, to me, rather dry pianoless groups Dave Holland led in the mid-1980s with Steve Coleman and Kenny Wheeler in the line-ups and drummer Marvin "Smitty" Smith. I think Berendt's term "aestheticised jazz", applied to much of ECM output in the 1970s, really applied in this case.

              Comment

              • Ian Thumwood
                Full Member
                • Dec 2010
                • 4361

                #8
                Originally posted by Serial_Apologist View Post
                I was hearing as well a polite version of the, to me, rather dry pianoless groups Dave Holland led in the mid-1980s with Steve Coleman and Kenny Wheeler in the line-ups and drummer Marvin "Smitty" Smith. I think Berendt's term "aestheticised jazz", applied to much of ECM output in the 1970s, really applied in this case.
                I don't know who Berendt is but I was surprised by the reference to Dave Holland whose music is more sophisticated. Holland often uses multiple themes in his writing. The great thing about his groups throughout the 80s to 2000s is that they sounded contemporary yet always came out of the tradition. Some of the best jazz produced in this period has been by groups led by Dave Holland yet the Gourley quartet gig not sound as if he was from a younger generation.

                I have a funny relationship with ECM. I feel that the stuff produced in the 70s and 80s was extremely innovative but as the 1990s evolved, it was those "purer" jazz artists like Dave Holland who were right on the money whereas I lost patience with those musicians who had a less direct relationship with jazz. Bands without a chordal instrument are actually far more interesting to listen to because the bass and drums have to perform a harmonic role too. A good band of this ilk is really exciting although it can fall flat if the group is not so hot.

                Comment

                • Serial_Apologist
                  Full Member
                  • Dec 2010
                  • 38184

                  #9
                  Originally posted by Ian Thumwood View Post
                  I don't know who Berendt is but I was surprised by the reference to Dave Holland whose music is more sophisticated. Holland often uses multiple themes in his writing. The great thing about his groups throughout the 80s to 2000s is that they sounded contemporary yet always came out of the tradition. Some of the best jazz produced in this period has been by groups led by Dave Holland yet the Gourley quartet gig not sound as if he was from a younger generation.

                  I have a funny relationship with ECM. I feel that the stuff produced in the 70s and 80s was extremely innovative but as the 1990s evolved, it was those "purer" jazz artists like Dave Holland who were right on the money whereas I lost patience with those musicians who had a less direct relationship with jazz. Bands without a chordal instrument are actually far more interesting to listen to because the bass and drums have to perform a harmonic role too. A good band of this ilk is really exciting although it can fall flat if the group is not so hot.
                  Here's a Wiki entry for Joachim Berendt, Ian:

                  Comment

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