Bent Blue Paper Portraits from da management

[aka Calum Da Jazbo]

Geoffrey's first show features on bent notes [midnight Saturday natch the graveyard]

In this first programme in the series, Geoffrey celebrates the myriad pleasures of jazz with a survey of the unique art of "bending notes", from Bessie Smith and Louis Armstrong to Iain Ballamy and Sonny Rollins.

at the next available tombstone time slot we have Julian J featuring Colin Towns

Julian Joseph interviews bandleader Colin Towns about his latest project Blue Touch Paper which features the all star line-up of Mark Lockheart (Polar Bear, Loose Tubes), Chris Montague (Troyka, Kit Downes), Benny Greb (Peter Wölpl, Ron Spielman), Stephan Maass (Randy Brecker, Kruder & Dorfmeister), and Edward Maclean (Peter Fox, Nils Wülker). Colin gives insights into his writing and recording process and we hear tracks from the his new album which features music informed not only by jazz , but mixes elements of rock, funk and electronica. Also on the show, this month's 'Now Is The Time' feature with Kevin Le Gendre profiles the debut album from master saxophonist Courtney Pine 'Journey To The Urge Within' from 1986

Jon3 at least has Mingus's Self Portrait in Three Colours [beloved by Bruce and et a]

presents a gallery of portraits in jazz, including a discussion with Alex Hawkins around the origins of jazz portraits, starting with Duke Ellington. There are two new musical portraits by British reeds players, written and recorded especially for Jazz on 3. Tom Challenger's subject is the pioneering American saxophonist Ornette Coleman, a key innovator in the free jazz movement of the 1960s. He appears with his new group Brass Mask, which takes inspiration from New Orleans marching bands, contemporary jazz and improvisation, and hip hop. BBC Radio 3 New Generation Artist Shabaka Hutchings performs with a group put together for the occasion, including veteran avant-garde double bassist John Edwards and soulful vocalist Eska Mtungwazi, to portray Jean-Michel Basquiat. Beginning as a graffiti artist in New York in the late 1970s, Basquiat achieved worldwide renown over the course of his short career.

a special some thin else inspiration eh ....

[aka Calum Da Jazbo]

We've got Puck, Hamlet and the artist Basquiat, among others, on this week's Jazz on 3. Why? Because throughout the day on Monday, Radio 3 is exploring the role of portraits in music. And we've been given the task of giving the jazz perspective on this. Where to start? Well, we wondered whom a musician today would want to portray in music, and what it would sound like. What are the great historical portraits in jazz? Lots of questions, but we're squeezing as many answers – and some great new musical commissions – into this week's programme.

Pianist Alex Hawkins is first in the hotseat, to try and help us distinguish the portrait in music from the musical tribute; and, to discuss the great portraits of Shakespearean characters by Duke Ellington. We then fast forward to 2012 and the first of two sessions we've commissioned for the programme. Saxophonist Tom Challenger was given a blank canvas and chose to paint a musical picture of Ornette Coleman with his new group, Brass Mask. The unusual line-up of two reeds players, plus tuba and drums, lends real warmth and heft to the music, whether it's in the thoughtful opening or, later on, grasping the sense of fun that Challenger sees in Ornette and his music.
But what about the visual imagery of jazz – the great portraits by the likes of Francis Wolff and Herman Leonard? Jez discusses their legacy – good and bad - with Jazzwise editor Jon Newey and legendary photographer and writer Val Wilmer, who reveals a recent discovery from her own catalogue that she thinks is the best picture she's ever taken.
Our second session comes from Shabaka Hutchings – a portrait of American artist Jean-Michel Basquiat that attempts to capture the splashes of colour and 'thickness' of his work. Hutchings’ group, which features guitarist Otto Fischer, bass player John Edwards and drummer Mark Sanders, improvise freely around simple melodic strands, achieving both broad sweeps of sound and finer-tipped lines of colour.
And there are plenty of visual treats and titbits to be found on the Jazz on 3 website (link below), including exclusive access to that Val Wilmer print.
Join Jez for all this on Monday 7 May from 11pm, or listen online for seven days after broadcast.
The Jazz on 3 team

If you have comments about the show, or requests for music you’d like to hear, do get in touch at jazzon3@bbc.co.uk

from the newsletter for jon3

[handsomefortune]

as posted umpteen times before, i much prefer radio listening, rather than pc listening. nevertheless, still give things a go late at night ...on the off chance of enjoyment and interest. however, the 'graveyard' is not necessarily a lone spot, and 'graves' can be double.

anyway, as always, thanks calum da jazbo - i so wish i'd read your outline before as i turned off jlu last night, as the ramblings about mr pine, and extracts, were annoying me too much, bearing in mind sleep shortly beckons, (plus mr h was gurning). pine's got to be one of the most discussed people, therefore difficult for those who much prefer other eras and players). consequently, we missed the later bits. (which sound much more interesting).

so, once again i typically hope to remember, to remember to listen again.

incidentally, i enjoyed jez's 'box ticking' last week, maggie nichols and gail brand were a very welcome treat. imv there's always a place for both a longterm perspective, and for women 'excreting', in public spaces, including on the air waves, (with reference to bluesnik's comment ..iirc ....think it was him) - anyway, he made a valuable point imo...perhaps that's one of the problems with representations of the 80s, it can be far too orientated towards 'the starchy and professional', imo interpretations of the era typically miss out counter movements). osibisa are still great, at partys especially. but imv the rest of the time, the 80s is much more like this: http://www.youtube.com/watch?v=7cXV9...eature=related

tbh i am slightly concerned that jazz has a complex history, is often difficult music in itself, and comes from lots of different people and places. however, blending jazz with visual arts will presumably require a departure in approach of sorts? regardless, am trying to keep an open mind about beeb embroidery skills, in stitching jazz and art together, not diss the change in approach too soon! anywaysup, hope all progs have good bits, and thanks again for the pointers as to when to hit the mouse, in order to skip (really awful) bits.

[Serial_Apologist]

I missed this - were all the bent notes primary eased?

[aka Calum Da Jazbo]

stitching jazz and art together

this was an exquisite effort

[handsomefortune]

what a coincidence, i was just looking for him too aka jazz columbo!

i wanted to say thanks to serial apologist, for the tip to listen to 'hear&now' piece, also interpreting cloud formation, having watched tim whitehead post first.

(though a shame the slide projector (behind tim) made turner's work look like it had been through the 60degree cycle on the washing machine though. perhaps it looked ok in real life, just didnt film well)?

as for bent notes i believe they've since been cured, having found religion.

[Eine Alpensinfonie]

as posted umpteen times before, i much prefer radio listening, rather than pc listening. nevertheless, still give things a go late at night ...on the off chance of enjoyment and interest. however, the 'graveyard' is not necessarily a lone spot, and 'graves' can be double.

anyway, as always, thanks calum da jazbo - i so wish i'd read your outline before as i turned off jlu last night, as the ramblings about mr pine, and extracts, were annoying me too much, bearing in mind sleep shortly beckons, (plus mr h was gurning). pine's got to be one of the most discussed people, therefore difficult for those who much prefer other eras and players). consequently, we missed the later bits. (which sound much more interesting).

so, once again i typically hope to remember, to remember to listen again.

incidentally, i enjoyed jez's 'box ticking' last week, maggie nichols and gail brand were a very welcome treat. imv there's always a place for both a longterm perspective, and for women 'excreting', in public spaces, including on the air waves, (with reference to bluesnik's comment ..iirc ....think it was him) - anyway, he made a valuable point imo...perhaps that's one of the problems with representations of the 80s, it can be far too orientated towards 'the starchy and professional', imo interpretations of the era typically miss out counter movements). osibisa are still great, at partys especially. but imv the rest of the time, the 80s is much more like this: http://www.youtube.com/watch?v=7cXV9...eature=related

tbh i am slightly concerned that jazz has a complex history, is often difficult music in itself, and comes from lots of different people and places. however, blending jazz with visual arts will presumably require a departure in approach of sorts? regardless, am trying to keep an open mind about beeb embroidery skills, in stitching jazz and art together, not diss the change in approach too soon! anywaysup, hope all progs have good bits, and thanks again for the pointers as to when to hit the mouse, in order to skip (really awful) bits.

When the left shift key doesn't work, try the one on the right.

[Serial_Apologist]

as for bent notes i believe they've since been cured, having found religion.

As I thought - primary eased...!

Thanks, Calum and Handsome. Mr Whitehead plays pretty regularly, monthly, at Way Out West in Richmond(-on-Thames) - near to where he resides. A bit far out, geographically for me, (trains, buses etc), in case he reads on here - probably not, very busy man as he is.

[handsomefortune]

primary eased...!

is that what it's actually called - i thought you were referring to a monetary currency .... tbh.

how did you do that eine alpensinfonie?

[Serial_Apologist]

primary eased...!

is that what it's actually called - i thought you were referring to a monetary currency .... tbh.

Er, both at the same time, actually; there's a special terms for which I currently forget, (not quite conflation - elision?), if that makes any sense...

[Eine Alpensinfonie]

how did you do that eine alpensinfonie?

youmeanthefontsizewellislectedthetextiwantedtoredu ceandthenclickedonthecapitalawhichallowedmetochoos efontsizesiselectednumberanditmadethewholeparagrap hsmalleramibeingabadhostbymakingfunofpeoplepleased onttakeitpersonally

[handsomefortune]

reminiscent of world renowned lipsmackin pepsi advert eine alpensinfonie ......nevertheless perfect for today's music & portraiture bonanza especially.

elision

aha ....means bits missing (apparently) serial apologist.

shakespeare and the duke await us, (along with torrential bank holiday rain).

[handsomefortune]

imv odd that the coleman hawkins portrait sounded suspiciously 'sons of kemet'...not that i'm complaining whatsoever, it's the tuba cum bass i guess?

followed by jez occasionally fumbling, out of his depth with professional jazz portrait photographers, but happily finishing with a really superb portrait of the short and troubled life of jean michelle basquiat, as expertly interpreted by shebaka and friends.

i'm sure people around the world would contest that ronnie scotts is THE most famous jazz venue ever ...though understand why jez was over egging that theory. it's 'internationalism gone mad'. regardless, perhaps it makes a welcome change from over familiar cliches about pc-ness, or h&s?

'jazz is for old men' was annoying and plain wrong imv. what amounted to counter productive platitudes about someone wearing their underpants too high above their trousers in 1961, i suspect will not attract new audiences to jazz, never mind hip hoppers in low slung jeans. tuff!

[charles t]

i

i
'jazz is for old men' was annoying and plain wrong imv. what amounted to counter productive platitudes about someone wearing their underpants too high above their trousers in 1961, i suspect will not attract new audiences to jazz, never mind hip hoppers in low slung jeans. tuff!

Your commentary reminds me of hearing Gene (Jug) Ammons in Chicago in 1969...the same year he was released after a 7-year imprisonment...dope...and the year he died (cancer).

From my vantage-point, near the band stage, I will always remember that one of Ammons' shoe leathers had had been cut to allow access across his entire front foot...white socks.