Will Skin & Bone Dubrek fast, or just be a Sample?

[Serial_Apologist]

Sat 11 Dec
5pm - J to Z
Julian Joseph with new jazz and classics of the genre, today featuring live music from saxophone great Charles Lloyd and his quartet, recorded last month at the London Jazz Festival.

http://www.bbc.co.uk/programmes/m0012gf6

10pm - New Music Show

With much-admired jazz pianist, bandleader and educator Nikki Iles featured among nominees for Ivors Composer Awards.

http://www.bbc.co.uk/programmes/m0012gfb

12midnight - Freeness
Corey Mwamba with classic and contemporary improvised music, tonight featuring a quartet comprising Mat Maneri and Tanya Kalmanovitch (from New York) and Tomo Jacobson and Kresten Osgood (from Copenhagen), who experiment with what they call "non-particularity" - a mode of collective expression in service of finding a unified voice, with two violas, double bass and drums. Plus Derby drumming trio Skin and Bone and a mid-1960s recording by the John Handy Quintet, where heritage jazz meets orchestral breaks and spontaneous moments of expansion.

It happens to me at every mealtime.

http://www.bbc.co.uk/programmes/m0012gfd

Sun 12 Dec
4pm - Jazz Record Requests

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

http://www.bbc.co.uk/programmes/m0012gj7

[Serial_Apologist]

Well done Julian and the crew at J to Z for giving us a good slice of Charles Lloyd's concert at the Barbarism last month when some of us couldn't be there, along with a selection of earlier performances. Quite a few people I met back in the day didn't take to CL's mannerisms, particularly the flutterings into high registers so immediately identifying him, others regarding him as a pale copy of John Coltrane. Those criticisms don't bother me I have to say, to me he was an important short-lived influence on one of the directions of the music at the end of the 60s that led towards Fusion; it was not surprising that Miles would make use of Jarrett and DeJohnette within a couple of years. It's so heart-warming to hear Charles Lloyd still playing strongly at the age of 83, with support from a brilliant band.

[Old Grumpy]

Well done Julian and the crew at J to Z for giving us a good slice of Charles Lloyd's concert at the Barbarism last month when some of us couldn't be there, along with a selection of earlier performances. Quite a few people I met back in the day didn't take to CL's mannerisms, particularly the flutterings into high registers so immediately identifying him, others regarding him as a pale copy of John Coltrane. Those criticisms don't bother me I have to say, to me he was an important short-lived influence on one of the directions of the music at the end of the 60s that led towards Fusion; it was not surprising that Miles would make use of Jarrett and DeJohnette within a couple of years. It's so heart-warming to hear Charles Lloyd still playing strongly at the age of 83, with support from a brilliant band.

[Quarky]

Charles Lloyd's lengthy biography contains no mention of Coltrane ( https://charleslloyd.com/biography/), but I could certainly hear the resemblance in some of the tracks played in J to Z.

However his latest Album, Charles Lloyd and the Marvels, Tone Poem, 2021, is freely available on You Tube::

https://www.youtube.com/watch?v=rph7fvr6Y5w&list=PLEz_mLoNZMeR42HPi9l_X-qxjkxzmCJpq

Shades of Mario Pavone!!

[Jazzrook]

One of the best J to Zs I've heard and an impressive concert performance from Charles Lloyd.
I seem to remember Charles Fox being critical of him during the late 1960s but think Lloyd's playing has improved with age.

JR

[Alyn_Shipton]

I've been a fan of Charles for many a year. If boardees haven't heard it we had a nice chat a few years ago for R3: https://www.bbc.co.uk/programmes/p02r6l2d

[Serial_Apologist]

I've been a fan of Charles for many a year. If boardees haven't heard it we had a nice chat a few years ago for R3: https://www.bbc.co.uk/programmes/p02r6l2d

Thanks for that reminder of a most enjoyable broadcast, Alyn.

[BLUESNIK'S REVOX]

Thanks for that reminder of a most enjoyable broadcast, Alyn.

JJR just now...

DISC 11

Artist Max Roach

Title Praise for a Martyr

Composer Max Roach

Album Percussion Bitter Sweet

Label Impulse

Number A-8 Track 4

Duration 7.13

Performers Booker Little, t; Julian Priester, tb; Eric Dolphy, fl. As; Clifford Jordan, ts; Mal Waldron, p; Art Davis, b; Max Roach, d; Carlos Valdes, Carlos Eugenio, perc. 1961

Really great track, the Max Roach albums of around this period seem to be so unjustly neglected.

[Serial_Apologist]

JJR just now...

DISC 11

Artist Max Roach

Title Praise for a Martyr

Composer Max Roach

Album Percussion Bitter Sweet

Label Impulse

Number A-8 Track 4

Duration 7.13

Performers Booker Little, t; Julian Priester, tb; Eric Dolphy, fl. As; Clifford Jordan, ts; Mal Waldron, p; Art Davis, b; Max Roach, d; Carlos Valdes, Carlos Eugenio, perc. 1961

Really great track, the Max Roach albums of around this period seem to be so unjustly neglected.

Indeed - the only thing missing being a Dolphy solo, but as Django Bates said in a song title, "You can't have everything". That Charlie Barnet track was a cracker too - possibly the first time I have heard a Charlie Barnet band - I can hear Ian Thumwood quite rightly tut-tutting. So, one really does pronounce his name BarNET, then. I am seriously now thinking of proposing a name change for the well-known suburb of north London: Frying Barnet!

[Ian Thumwood]

You rarely hear much music by Charlie Barnet, SA and he strikes me as being somewhat neglected. I have always liked "Skyliner" but the band also had a hit with a jump version of Ray Noble's "Cherokee" several years previously. Like yourself, I have not heard too his music and was most familiar with an album he made in the mid 1950s which I think was a studio band largely made up of jazz of the time. Interestingly, he was a multi-reed player whose Johnny Hodges's influenced soprano frequently featured in the arrangements about twenty years being being" rediscovered" by John Coltrane.

These days Barnet's band seems more reknown for its notorious excesses and I believe the leader was a millionaire with the band being very much a plaything to express his enthusiasm for jazz. The behaviour of the band was infamous and there were instances of the band being run out of town and I believe smashing up hotels well before this became a triat of rock groups. He famously her-worshipped Duke Ellington and many of the band's arrangements reflect his admiration. The initial arranger was Billy May who was then writing charts which were influenced by Ellington incuding an extended composition called "Wings over Manhatten" which is really impressive and massivel different from the kind of arrangements May went on to make with Glenn Miller and utlimately his own band with "slurping saxes" of the 1950s. In fact, Barnet's band was not only influenced by black music whether it was swing, jump or even later Be-bop but was multi-racial and I believe was venerated by the critical audiences of the Apollo Theatre. At one time the band fearured the musically radical trumpeter Peanuts Holland (somehhat overshdowed by Roy Eldridge) and as well as the politcially radical Frankie Newton.

Here is "Wings over Manhatten" which you could be forgiven for being a piece by Duke Ellington...

[Jazzrook]

You rarely hear much music by Charlie Barnet, SA and he strikes me as being somewhat neglected. I have always liked "Skyliner" but the band also had a hit with a jump version of Ray Noble's "Cherokee" several years previously. Like yourself, I have not heard too his music and was most familiar with an album he made in the mid 1950s which I think was a studio band largely made up of jazz of the time. Interestingly, he was a multi-reed player whose Johnny Hodges's influenced soprano frequently featured in the arrangements about twenty years being being" rediscovered" by John Coltrane.

These days Barnet's band seems more reknown for its notorious excesses and I believe the leader was a millionaire with the band being very much a plaything to express his enthusiasm for jazz. The behaviour of the band was infamous and there were instances of the band being run out of town and I believe smashing up hotels well before this became a triat of rock groups. He famously her-worshipped Duke Ellington and many of the band's arrangements reflect his admiration. The initial arranger was Billy May who was then writing charts which were influenced by Ellington incuding an extended composition called "Wings over Manhatten" which is really impressive and massivel different from the kind of arrangements May went on to make with Glenn Miller and utlimately his own band with "slurping saxes" of the 1950s. In fact, Barnet's band was not only influenced by black music whether it was swing, jump or even later Be-bop but was multi-racial and I believe was venerated by the critical audiences of the Apollo Theatre. At one time the band fearured the musically radical trumpeter Peanuts Holland (somehhat overshdowed by Roy Eldridge) and as well as the politcially radical Frankie Newton.

Here is "Wings over Manhatten" which you could be forgiven for being a piece by Duke Ellington...

Charlie Barnet Orchestra with a 17-year-old Dodo Marmarosa playing 'The Moose' in 1943:

https://www.YouTube.com/watch?v=8Lq8Xv4s4wY

JR

[Serial_Apologist]

Much appreciated, thanks Ian.

[Serial_Apologist]

Charlie Barnet Orchestra with a 17-year-old Dodo Marmarosa playing 'The Moose' in 1943:JR

Dodo Marmaroso - he's one of those interesting transition figures mentioned awhile back by Ian bridging late Swing and bop; I hadn't realised just how young he was at that time.