Rollet out, Vomir!

[Serial_Apologist]

Sat 14 Jan
5pm - J to Z
Kevin Le Gendre marks the new year with a showcase of jazz artist from the UK and beyond who are set to make a big impression in 2023, as chosen by the J to Z team and influential friends, including Gilles Peterson and Jamz Supernova.

http://www.bbc.co.uk/programmes/m001gy8k

12midnight - Freeness
Corey Mwamba with new jazz and improvised music, including a live session from Oslo's 15-piece Large Unit and a reflective musical conversation between cellist Tomeka Reid and saxophonist Joe McPhee. Plus music from Alex Ward Item 4 and, collaboratively, French experimentalist Quentin Rollet and noise music artist Romain Perrot (aka Vomir).

http://www.bbc.co.uk/programmes/m001gyhj

Sun 15 Jan
4pm - Jazz Record Requests

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

http://www.bbc.co.uk/programmes/m001gy40

[Old Grumpy]

Sat 14 Jan
5pm - J to Z
Kevin Le Gendre marks the new year with a showcase of jazz artist from the UK and beyond who are set to make a big impression in 2023, as chosen by the J to Z team and influential friends, including Gilles Peterson and Jamz Supernova.

http://www.bbc.co.uk/programmes/m001gy8k

12midnight - Freeness
Corey Mwamba with new jazz and improvised music, including a live session from Oslo's 15-piece Large Unit and a reflective musical conversation between cellist Tomeka Reid and saxophonist Joe McPhee. Plus music from Alex Ward Item 4 and, collaboratively, French experimentalist Quentin Rollet and noise music artist Romain Perrot (aka Vomir).

http://www.bbc.co.uk/programmes/m001gyhj

Sun 15 Jan
4pm - Jazz Record Requests

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

http://www.bbc.co.uk/programmes/m001gy40

J to Z...

...

[Serial_Apologist]

J to Z...

...

We have advice from Cannonball Adderley (to pay homage to his to Joe Zawinul in the track currently playing) when you're faced with having to deal with this kind of s**t: Mercy, mercy, mercy!

Am I right in thinking that not one of the recommended names for 2023 by the worthy radio jazz mafia earlier was by a British artist? What a great example to encourage home talent. Some of the stuff was all right, if unoriginal, some of it (like the rap track) dire in the extreme. Ah -we have someone from Manchester being recommended - never hatch your eggs before you can lay them, or however the saying goes... Oh dear, this is terrible: bad imitation Vivaldi.

[Alyn_Shipton]

Well bassist/singer Daisy George who was before my choice (of US pianist Connie Han) was British and so was the bassist from Leeds who followed my choice with something rather indigestible...

[Serial_Apologist]

Well bassist/singer Daisy George who was before my choice (of US pianist Connie Han) was British and so was the bassist from Leeds who followed my choice with something rather indigestible...

Connie actually was fantastic - I greatly enjoyed her selections a few weeks ago, and the way she presented them.

[Ian Thumwood]

I only caught a snip of the Connie Han track which surprised me as being unlike my perception of his music from the blurb I had read which had put meoff. The track was very much in the spirit of the "New Neos" of the 1980s which is ok by me. Not sure if SA has been aware of the debate surrounding Ms Han in some of the online jazz press where the marketing to publish her discs has come under fire from other female jazz musicians like Sheryl Maricle and, I think, Linda May Han Oh insofar that Mack Avenue have been encouraging her to dress provocatively to market her records as well as her quite bullish and unashamed statements about exploiting her sex appeal to gain an audience. There have been comments from female jazz musicians about Ms Han who accused her of undermining the efforts of other female musicians who have had to struggle to get any recognition. I think Connie Han is probably the first female jazz instrumentalist to have been marketed like this. Not sure that Mack Avenue's marketing might ultimately prove to be counter-productive but you wonder if this is not too dissimilar to what has happened with the marketing of classical music where the female artists have been markedly more "photogenic."

I think I preferred it when the word "hot" in jazz mean't Louis Armstrong. Not sure there would have been room for Dame Myra in 2023...


[

[Jazzrook]

Here she is playing 'Love For Sale':

https://www.YouTube.com/watch?v=B4WlUy4I3Ew

JR

[Serial_Apologist]

Here she is playing 'Love For Sale':

https://www.YouTube.com/watch?v=B4WlUy4I3Ew

JR

When the ad that came on immediately following that link started off by announcing "if you have prostate problems...", I near p*ssed myself, and then the puns really started coming - a new genre to be named Platform Soul? How she manages to play wearing those boots is beyond me, though I do understand they are legal for driving purposes. I can understand the complaints. The link to be made (if you're like me) between wearing bondage gear and playing "Love for Sale" must surely be meant intentionally? On the other hand I well remember Annette Peacock saying "you have to appreciate we Americans don't understand irony, because we're still a young nation"!

To answer Ian, no I had no idea Ms Han was associated with the 80s New Neos, though I do remember our own Jason Rebello doing something similar to this, referencing those Chick Corea/Herbie Hancock duo concerts in the late 1970s in which they would do "novelty" things of this kind. Jason has done more interesting stuff since, and in any case I got rid of that album.

[BLUESNIK'S REVOX]

Good to hear Booker Little on JRR, especially for me as just prior a US station I was listening to played Freddie Hubbard's "Lament for Booker" also a reminder of how brilliant early Hubbard also was.

Re Ray Charles and Milt Jackson, I don't think that pairing was so surprising. They were both on Atlantic, Milt was cutting say "Plenty Plenty Soul" and Ray as well as that idiom, was also marketed as a jazz artist..."The Great Ray Charles", "Ray Charles at Newport". Anyway their two albums together are favourites.

[Ian Thumwood]

Here she is playing 'Love For Sale':

https://www.YouTube.com/watch?v=B4WlUy4I3Ew

JR

Bags of technique in this clip but it struck me as a bit mechanical. I was reminded of Michel Pettrucciani in some respects but it lacks the late Frenchman's sense of unpredictabiliy and mischievous nature. There is a better clip of a concert with a trio in St Louis which is hugely impressive and whilst she had protested the influence of Hank Jones, she sounds very much like McCoy Tyner on that gig which is worthwhile checking out. The stamina in her playing is incredible and I think her playing is full of energy and aggression which I quite like.

I would suggest that she is probably a marketing department's dream. The solo performance is shot from various angles and has clearly been produced to make the music seem "sexier." It is difficult not to make comparisons with the Japenese pianist Hiromi who has a similar technique and whose husband is atually a fashion designer. I got in to contemporary jazz at the same time Geri Allen arrived on the scene but I would have to say her concept of jazz was far more profound and did not require a marketing machine behind her. She let the music talk for itself.

With regard to the Rap track on J-Z, I think this is symptomatic of the fact that the younger audience for jazz is no longer looking at the music in the same way the audience did all the way up through until the 1990s. I am pretty sure that if 20-something jazz fans were commenting on here, they would not be enthused by the more "traditional" side of things and would consider something like Robert Glasper's "Black Radio" as being a "classic" recording. The selection might be an anathema for most people contributing here but that track was probably more appealing if you spend your whole day looking at your i-phone. It's all about the beats, init?

[BLUESNIK'S REVOX]

I have spent most of today listening to old soul records - Garnett Mimms, The Impressions, James Carr etc, while gazing at and communicating on a 2021 Motorola. I believe all these things are due a BIG revival. Particularly amongst the progressive youth.

[Ian Thumwood]

Picking upon the Hubbard comment, when I was getting into jazz n the 1980s he was always considered to have squandered his reputation with more Smooth material for CTI in the 1970s before having issues with this embouchure in the next decade. It always felt like he was fighting a losing battle with his lips and his reputation was further diminished by the likes of Woody Shaw and Wynton Marsalis. On top of this, there was the parallel issue of Miles Davis coming out of retirement that he had to contend with. However, I think that the stuff he produced for labels like Blue Note was consistently excellent. Even on early albums ike Han Mobley's "Roll call", he is the best thing about that band. The combination with Tina Brooks was also an excellent pairing.

It is strange that some of his CTI stuff is now being re-appraised and I think considered more favourably. The one think he never gets enough credit for is his ability as a ballad player. Out of the Blue Note trumpeters of that era, I would say he was the Hard Bop trumpeter Par excellence althiugh not as original as Kenny Dorham. I think I also prefer him to Lee Morgan in some respects.

[BLUESNIK'S REVOX]

Freddie Hubbard, "Body & Soul" from the Bluenote, "Here to stay", inexplicably not released at the time, band with Wayne, Philly Joe etc.

This is a gorgeous performance, restrained, thoughtful and moving, when by reputation and technique you'd have thought he would have made it a huge showcase...

http://youtu.be/WQKsIkjZZhg

[Serial_Apologist]

Picking upon the Hubbard comment, when I was getting into jazz n the 1980s he was always considered to have squandered his reputation with more Smooth material for CTI in the 1970s before having issues with this embouchure in the next decade. It always felt like he was fighting a losing battle with his lips and his reputation was further diminished by the likes of Woody Shaw and Wynton Marsalis. On top of this, there was the parallel issue of Miles Davis coming out of retirement that he had to contend with. However, I think that the stuff he produced for labels like Blue Note was consistently excellent. Even on early albums ike Han Mobley's "Roll call", he is the best thing about that band. The combination with Tina Brooks was also an excellent pairing.

It is strange that some of his CTI stuff is now being re-appraised and I think considered more favourably. The one think he never gets enough credit for is his ability as a ballad player. Out of the Blue Note trumpeters of that era, I would say he was the Hard Bop trumpeter Par excellence althiugh not as original as Kenny Dorham. I think I also prefer him to Lee Morgan in some respects.

Lee took more risks towards the end of his life, in my opinion.

[Old Grumpy]

We have advice from Cannonball Adderley (to pay homage to his to Joe Zawinul in the track currently playing) when you're faced with having to deal with this kind of s**t: Mercy, mercy, mercy!

Indeed!

On reappraisal on Listening Again (i.e. Sounds), here are some very palatable tracks. I think it must have been during the indigestible track from Leeds that I was prompted to emote!