.... no money for lawyers ....

[aka Calum Da Jazbo]

Alyn is [steady lad] quite exciting this week - for me at least - the line up on a Herb Geller track [never heard of the album ] is just awesome [Herb Geller, as; Thad Jones, t; Hank Jones, p; Scott LaFaro, b; Elvin Jones, d. 1959.] .. innit! .... and my favourite Fado album - the one with Don Byas doing for Amilia Rodriguez what Stan did for for Astrud .... get yer tapes rollin it is a prime woolies pick 'n mix bag for yer staurday pocket money

Geoffrey takes us on a holiday cruise through the various funky works of Lionel

Julian does Tessa Souter

Julian Joseph interviews extraordinary New York Jazz Singer Tessa Souter, quoted in the Boston Globe as "One of the finest and most fearless jazz vocalists to have emerged in recent years". Souter's own hauntingly evocative lyrics are set to exquisite classical melodies, and she is partnered with six of the jazz world's elite -- pianist Steve Kuhn's superlative trio with bassist David Finck and drummer Billy Drummond, vibraphone master Joe Locke, saxophonist Joel Frahm, and Gary Versace on accordion. Her new release "Beyond the Blue".
Julian talks to her prior to her Pizza Express Jazz Club visit on 9th February.
Also on the show, Julian features the 2nd part of a concert at Edinburgh's Jazz Bar with Phil Robson's Immeasurable Code, which was recorded last September

i will listen .... i will [that band looks good eh?]


Jon3

Trish Clowes

Monday 04 February 2013

Saxophonist and BBC Radio 3 New Generation Artist Trish Clowes is making a name for herself by exploring the ground between jazz and contemporary classical music, and performs here with a nonet that does just that. Appropriately then, the group brings together a jazz quintet (featuring special guest pianist Gwilym Simcock) and a string quartet, with the lines between them blurred by a shared refinement of sound and willingness to improvise. Clowes' strongly lyrical music shifts between textures that are sometimes groove-led, sometimes closer to classical chamber music in their detail, with this gig featuring material from her recently released second album 'And In The Night-time She Is There'.

ooohhh i'm so excited .... looking forward to hearing a full set of her work with the nonet ....

[Barbirollians]

So not a thread about the appalling cuts in legal aid then !

[handsomefortune]

ooohhh i'm so excited .... looking forward to hearing a full set of her work with the nonet ....



the appalling cuts in legal aid

yes, disgraceful.

[aka Calum Da Jazbo]

listening to JRR struck by:

a] how good Carmen McRae and Sarah Vaughan were ....
b] never have liked the Barber Ball or Bilk for that matter or any of the other banjo trad bands, not then, not now .... if this were a manifesto i would add not ever; but it is not ...
c] ditto Harry J and Stan K..what cludge bands they sounded
d] how Nat Adderley is always that bit better than you think he is
e] that rough album with Byas and Rodrigues is one for aficionados of real sleaze .... i can smell the cork and tobacco of the bar where one sees out one's days in exile and amour eh .....
d] how unenlivening the Barnes and Donaldson tracks were
e] and how of its time the Geller track was, that is, before most of them really hit their stride ...

[BLUESNIK'S REVOX]

Agree. Elvin was much more reserved (on record) before he got with Trane. Nat was a wonderful player in that period, and the ripe Byas track only needed a drum of Lisbon red and a plate of squid. Hic.

BN.

I also thought the dedication to Gene Harris's "Thats All" was quietly moving.

[BLUESNIK'S REVOX]

Lou Donaldson also seemed to do less and less on each record, from a voluable bop altoist to sub Louis Jordan...in the words of Art Pepper.

BN.

[Ian Thumwood]

Calum

I was struck by the fact that the Victor Feldman tune Alan Barnes played sounded very similar to a Sonny Clark tune, "News for Lulu" - one of the pianist's finest melodies. I wouldn't have been quite as negative as youself but this is the kind of performance that is just typical of much of the "round the block" kind of modern jazz that has been churned out with little thought since the 1950's. It would also have been quite interesting to have played this to Trevor Cooper in a blindfold test as he would probably hav approved had it been played in mono and not been informed who it was beforehand!

Reading your comments seems to cement many prejudices the many fans have about jazz. I would agree (to some degree ) about Trad bands but vigorously contest the argument if levelled against the more accurate repertoire bands which open a door to how bands of the 1920's might have sounded. However, I think that there is a generation thing at work here. If you knew nothing of Harry James before hearing that track you would have considered him quite savvy to the more popular jazz styles of the 1960's. The rhythm section was pretty tight and even the trumpet solo was demonstrably jazz - not always the case with Harry James. (Not always the case that what he produced was musical either. By and arge, he was a pretty rotten improvisor as be moved away from the 1930's.) However, he did model his 50's band very much on Basie's which was the band my Dad saw in concert and said was pretty good. (No doubt due to Buddy Rich.) However, Harry James was always considered dodgy by most jazz fans and not trusted. That said, even his worst efforts weren't quite as dreadful as the Don Byas song (although the singer had a very good voice) - the favourable comments on the board demonstrating that most jazz fans have double standards. (Me included.) Difficult to see how you can slaughter Kenton and James and not the Byas record. I'm no fan of either Kenton or James but the tracks chosen didn't necessarily reflect their worst excesses. I agree a bit about Nat Adderley although I think his brother is even more maligned unjustly.

The curious thing about last night's selection was that I would have doubted if anyone requesting those tracks was under 60 years old. There was nothing requested that was remotely challenging . Even the Herb Geller record seemed pretty mundane to me. It was certainly not as interesting as what I've come to expect from Thad Jones and Geller just seems like a run-of -the-mill Bird copyist. For me, this wasn't anymore sophisticated than the Alan Barnes track. It's intriguing reading you comments although I think I could have predicted your observations.

I like the fact that you can hear all sorts of music on JRR and that listeners have a say in what is played. Some weeks you hear music that you enjoy and other times music that you have never heard before. It suits my eclectic taste in jazz. That said, it is interesting appreciating what each generation considers to be worthy or desirable in jazz and how this changes over times. For me, alot of the third division be-bop is much more worthy than the Trad tracks. As you say, it is very much of it's time and the final track demonstrates that even a stellar line up could still produce something I personally found unexceptional.

[BLUESNIK'S REVOX]

All future requests to JRR must be accompanied by a current pension statement, a bus pass, a winter fuel payment, flu jab, evidence of a hip replacement and a large signed picture of Churchill.

BN.

We especially appreciate requests from former Clyde Valley stompers and/or Engineering students. And model aircraft enthusiasts.

[Ian Thumwood]

yawnnnnnnnnnnnnnnnnnnnnn

[BLUESNIK'S REVOX]

Engineeeeeeeeeeeeering

BN.

[aka Calum Da Jazbo]

i have the bus pass ..... never was an empire man myself so Winnie can go Pooh for me ....

very good programme tho ...

[Tenor Freak]

I am a model aircraft enthusiast.

Quite enjoyed the programme last night as well. I've always liked Blues Walk even if Lou Donaldson isn't exactly my favourite altoist.

[BLUESNIK'S REVOX]

Ive got a control line Spitfire with an ED Racer motor (2.5 cc). Ideal for sending in requests when you cut the wires and let it have its way.

BN.

[burning dog]

i have the bus pass ..... ...

Soon to be means tested at a saving of £1 11/6 to the nation. Will stop Lord Sugar using the No 8 to Old Ford fer nuffin though.

A vote here - hear, hear,- for Nat as well

Useless fact

My Mum won a Nat Adderley CD on a 'fabulous' Phone In Quiz when Jazz FM was first on, they played the odd Jazz track at that time.

[aka Calum Da Jazbo]

Trish Clowes’ Tangent Nonet

It’s always a brilliant experience to witness a young artist’s career take off right before your eyes and this week’s theme is a story of just that. Meet Trish Clowes, a young saxophonist and composer whose blossoming career has recently won her the title of BBC Radio 3 New Generation Artist. We’re delighted to open the account in an exciting year for Clowes, as she presents her new project – The Tangent Nonet - live in performance at London’s Pizza Express Jazz Club.
Ever since Clowes’ stunning set at the BBC Introducing stage at Cheltenham Jazz Festival in 2011, it’s been clear that she is one to watch - a multi-faceted musician, talented as a saxophone player but also a very strong leader who is able to command a band through sophisticated and detailed compositions. Here writing for nonet, Clowes blends the worlds of contemporary classical music with modern jazz, augmenting her regular band with the addition of a small string ensemble. As you’ll hear in this recording though, the strings are integrated fully into the band’s sound and drive the pieces forward from the core. Highlights include the three-piece suite named after her grandma Iris in which the violinists’ extended techniques produce exciting textures from which Clowes’ soaring melodies emerge. Guitarist Chris Montague and guest pianist Gwilym Simcock cleverly weave lines in and out of the strings with understated elegance.
Also in the programme, Kevin Le Gendre joins me in the studio to introduce us to some new releases and pays tribute to Jayne Cortez, one of America’s great blues poets who died at the end of December 2012. A defiant voice and dynamic spoken-word artist, we close the show with Cortez on fine firespitting form with a track from her Unsubmissive Blues LP as well as a tribute piece of his own from fellow New York poet Steve Dalachinsky.

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