...such discourtesy this unannounced arival ...

[aka Calum Da Jazbo]

Alyn is playing listener's requests including some bebop and if we are very good children he will tell us what the music is later so we will just have to be a mushroom [a synonym for patient eh]

Julian devotes the whole show to the Art Themen Quartet

recorded as part of the 10th Anniversary celebrations of the 'Jazz On A Winter's Weekend' festival in Southport. Art's latest project 'New Directions' features the stellar line-up of pianist Gareth Williams, trumpeter Steve Fishwick, bassist Arni Somogyi and drummer Winston Clifford. Themen previously fronted Stan Tracey's quartet for 20 years, and has played alongside music legends including Mick Jagger, Chuck Berry and Alexis Korner.

..now if JLU has an advance playlist [albeit in the crap iTunes format] why can't JRR?

Geoffrey does Stan Getz but what he is going to play is a buried mystery .... he may tell us ...but then again ....

Jon3 continues to feature the LJF

Featured sets include the bass-led Luc Ex Trio, where heavily improvised pieces build through the saxophone dialogues of Ab Baars and Ingrid Laubrock, while Ex's acoustic bass guitar growls and prompts emerging themes. British guitarist Anton Hunter and his trio touch on a very different landscape, with a beautiful set of slow-burning melodicism. The spirit of Adventures of Sound - mixing up the bands into spontaneous ensembles - comes to the fore in a group featuring American drummer Jeff Williams and electronics whiz Leafcutter John, alongside Ex and Laubrock.

Also on the programme we celebrate the 70th birthday of composer and bandleader Henry Threadgill, getting the inside track on the man and his music from some of his closest colleagues over the years.

way to go Jon3 interesting programming and good to see a feature on Mr Threadgill .....

Hi Trevor!

[Serial_Apologist]

Alyn is playing listener's requests including some bebop and if we are very good children he will tell us what the music is later so we will just have to be a mushroom [a synonym for patient eh]

Julian devotes the whole show to the Art Themen Quartet



..now if JLU has an advance playlist [albeit in the crap iTunes format] why can't JRR?

I can't remember a single broadcast in which the great Art Themen was presented leading a band of his own. Not that he has, very often. Roll on six o'clock!

From olden times I remember the mushroom theory of management practice, which was, keep us in the dark and sh*t on us periodically.

[BLUESNIK'S REVOX]

I can't remember a single broadcast in which the great Art Themen was presented leading a band of his own. Not that he has, very often. Roll on six o'clock!

From olden times I remember the mushroom theory of management practice, which was, keep us in the dark and sh*t on us periodically.

Long long ago on the previous of this bored I praised Themen's playing on the reissue of Stan's "Captain Adventure".

Shouts of he's just a gesture player/noise for effect Well I remain a fan.

I can't remember a single broadcast in which the great Art Themen was presented leading a band of his own. Not that he has, very often. Roll on six o'clock!

From olden times I remember the mushroom theory of management practice, which was, keep us in the dark and sh*t on us periodically.

Long long ago on the previous of this bored I praised Themen's playin

I can't remember a single broadcast in which the great Art Themen was presented leading a band of his own. Not that he has, very often. Roll on six o'clock!

From olden times I remember the mushroom theory of management practice, which was, keep us in the dark and sh*t on us periodically.

Long long ago on the previous of this bored I praised Themen's playing on the reissue of Stan's "Captain Adventure".

Shouts of he's just a gesture player/noise for effect Well I remain a fan.

BN.

[BLUESNIK'S REVOX]

Ooooops, never cut and paste with a Soviet smartphone! Great battery...off a tank...but mind of its own...like Trotsky.

BN.

[Serial_Apologist]

Ooooops, never cut and paste with a Soviet smartphone! Great battery...off a tank...but mind of its own...like Trotsky.

BN.

No one has ever quoted me more than once before!

[aka Calum Da Jazbo]

aaaahhhhhhhhh .....

[Ian Thumwood]

There were some good selections on JRR last night. I'd never heard George Russell's version of "'Round midnight" before and found this absolutely staggering. The opening of the track sounded more like 2010's than 1960's. Russell was one of the first , "great" American jazz musician I saw perform live and I am a fan. Some of his later stuff is a bit disco orientated and hit and mass as a result, but the classic stuff from the 1960's represents some well thought ought ideas on how to push jazz ever onwards.

I would have to own up that the king Oliver track "Wa Wa Wa" is one of my favourite jazz records from the 1920's and the assessment by whoever requested it was spot on. Oliver is a bizarre figure for me as the most famous Creole Jazz Band recordings are so difficult to listen to because of the old, acoustic recordings. The later efforts sound better even if they omit Armstrong and you can clearly hear what was going on - on "Wa wa wa" an attempt for New Orleans musicians to perform in a more big ban orientated ensemble as opposed to the more traditional approach. I've read some scathing comments about Oliver's attempts to modernize but have always felt that the proof was in the pudding as the records were often very exciting despite not being as sophisticated as say fletcher Henderson. Fast forward a few tracks and you could compare how the music evolved again with the Stan Kenton request or even the Dizzy track from earlier. (The Sammy Kaye track probably not being a good comparison despite the sax playing being quite good. It sounded like someone aping Dorsey's "Marie" but with the jazz element taken out!)

I had never heard the Dodd's track either. He was of the same generation as Oliver and , again, perhaps another musician Armstrong's development had left behind. The clarinet playing of Dodds never seems to match Bechet's who I feel was the New Orleans clarinettist par excellence even if he was more of a principle soloist. What I liked about the track was hearing Bill Johnson on bass as I had read a lot about this musician in Lawrence Gushee's book "The pioneers of jazz" which charts the success of the Original Creole Jazz band which enjoyed massive success in the teens of the last century to the extent that King Oliver actually took their name for his own ensemble because it already had so much pedigree. Johnson is therefore very much one of the very first jazz musicians and the first jazz bassist of note. The leap from his music to George Russell's was immense.

[BLUESNIK'S REVOX]

There were some good selections on JRR last night. I'd never heard George Russell's version of "'Round midnight" before and found this absolutely staggering. The opening of the track sounded more like 2010's than 1960's. Russell was one of the first , "great" American jazz musician I saw perform live and I am a fan. Some of his later stuff is a bit disco orientated and hit and mass as a result, but the classic stuff from the 1960's represents some well thought ought ideas on how to push jazz ever onwards.

I would have to own up that the king Oliver track "Wa Wa Wa" is one of my favourite jazz records from the 1920's and the assessment by whoever requested it was spot on. Oliver is a bizarre figure for me as the most famous Creole Jazz Band recordings are so difficult to listen to because of the old, acoustic recordings. The later efforts sound better even if they omit Armstrong and you can clearly hear what was going on - on "Wa wa wa" an attempt for New Orleans musicians to perform in a more big ban orientated ensemble as opposed to the more traditional approach. I've read some scathing comments about Oliver's attempts to modernize but have always felt that the proof was in the pudding as the records were often very exciting despite not being as sophisticated as say fletcher Henderson. Fast forward a few tracks and you could compare how the music evolved again with the Stan Kenton request or even the Dizzy track from earlier. (The Sammy Kaye track probably not being a good comparison despite the sax playing being quite good. It sounded like someone aping Dorsey's "Marie" but with the jazz element taken out!)

I had never heard the Dodd's track either. He was of the same generation as Oliver and , again, perhaps another musician Armstrong's development had left behind. The clarinet playing of Dodds never seems to match Bechet's who I feel was the New Orleans clarinettist par excellence even if he was more of a principle soloist. What I liked about the track was hearing Bill Johnson on bass as I had read a lot about this musician in Lawrence Gushee's book "The pioneers of jazz" which charts the success of the Original Creole Jazz band which enjoyed massive success in the teens of the last century to the extent that King Oliver actually took their name for his own ensemble because it already had so much pedigree. Johnson is therefore very much one of the very first jazz musicians and the first jazz bassist of note. The leap from his music to George Russell's was immense.

All the George Russell Riversides are magic. My fav is Status Seekers. Loved the Dodds.....direct line to Roland. Weird program otherwise.

BN.

[BLUESNIK'S REVOX]

All the George Russell Riversides are magic. My fav is Status Seekers. Loved the Dodds.....direct line to Roland. Weird program otherwise.

BN.

Didnt hear much of a New Direction in the Themen set. OK, but with Tracey etc.he was much more expansive....

[Serial_Apologist]

Didnt hear much of a New Direction in the Themen set. OK, but with Tracey etc.he was much more expansive....

True, but Art is still a much riskier player than many of today's successors, and there was great rhythmic feed-off between him and Winston Clifford, as I've also seen numerous times with Ed Jones. Trevor(of old) was certainly right in his positive judgements on Mr Fishwick, one of the most original straight-ahead trumpet players to emerge in this country imv. Gareth Williams the pianist was the one who surprised me in the positive sense: I'd always had him down as a "Mister Fast Fingers", but his playing here more and more exemplified someone bursting the seams, barely containable with energy and ideas as the set proceeded. Hard bop as she should be.

[Ian Thumwood]

Calum

Curious to see the clip of Stan Getz's quartet. He looks extremely ill in the clips and this recording doesn't appear to have been made long before he passed away. Getz 's later work , especially with the great Kenny Barron on piano must remain his most compelling recordings and saw him dragged in to a more mainstream realm of jazz as opposed to his commercial stuff which always struck me as being little better than Kenny G insofar that the music was very commercial and the sax had a great tone but absolutely no depth in the playing. The quartet reminds me a bit of some of the later stuff Joe Henderson put out on Verve such as the wonderful "Double Rainbow" album which illustrated just how Jobim's music could be transported to a genuine jazz context. Anything with Kenny Barron on it is worth listening to and this group is no exception and it is a marked improvement upon the kind of anodyne music he churned out in the 50's and 60's when he was heralded as one of the masters of Cool Jazz. Thankfully the ethos of "cool" playing ran it's course rather like Jazz Rock or Nu Jazz and today's players are not so adverse at displaying a more "hot"" aesthetic which is how jazz should sound in my opinion. Based on the evidence of this wonderful group, Getz's stock has certainly gone up even though I still find the earlier "safe sax" stuff boring beyond belief.

[aka Calum Da Jazbo]

Calum

Curious to see the clip of Stan Getz's quartet. He looks extremely ill in the clips and this recording doesn't appear to have been made long before he passed away. Getz 's later work , especially with the great Kenny Barron on piano must remain his most compelling recordings and saw him dragged in to a more mainstream realm of jazz as opposed to his commercial stuff which always struck me as being little better than Kenny G insofar that the music was very commercial and the sax had a great tone but absolutely no depth in the playing. The quartet reminds me a bit of some of the later stuff Joe Henderson put out on Verve such as the wonderful "Double Rainbow" album which illustrated just how Jobim's music could be transported to a genuine jazz context. Anything with Kenny Barron on it is worth listening to and this group is no exception and it is a marked improvement upon the kind of anodyne music he churned out in the 50's and 60's when he was heralded as one of the masters of Cool Jazz. Thankfully the ethos of "cool" playing ran it's course rather like Jazz Rock or Nu Jazz and today's players are not so adverse at displaying a more "hot"" aesthetic which is how jazz should sound in my opinion. Based on the evidence of this wonderful group, Getz's stock has certainly gone up even though I still find the earlier "safe sax" stuff boring beyond belief.

yep the mortgages alimonies and habits were expensive [actually if you listen to the solos on the Jobim album on So Danca Samba and Corcovado and Quiet Nights your socks will change colour and depart but Stan to his credit got very bored with Dis Here Finado!]]

i asked Mr Barron about playing with Stan, given Stanley's bad rep as an angry bad mouthed prickly sob ... he said he was OK and the difference [huge] was down to one thing - he had stopped drinking ... that clip is a sober Mr Getz [btw Trevor C and i have been trying to tell you that Stan was the Man for six years] listen to the early stuff as well especially the quintet with Jimey Raney and Duke Jordan ... there was also a short lived quintet with Bob Brookmeyer that was a master-class in contrapuntal improvisation speaking of which Giuffre was the real man on the coast deeply into counterpoint, melodies as harmonies and vice versa and rythmn without percussion ... this was the guy who fainted at Lenox when he heard the Coleman group and then look what he did with Messrs Swallow and Bley

[Serial_Apologist]

[T]here was also a short lived quintet with Bob Brookmeyer that was a master-class in contrapuntal improvisation speaking of which Giuffre was the real man on the coast deeply into counterpoint, melodies as harmonies and vice versa and rythmn without percussion ... this was the guy who fainted at Lenox when he heard the Coleman group and then look what he did with Messrs Swallow and Bley

I didn't know that, Calum! Maybe Jimmy G fainted with astonishment at the Coleman quartet's ability to maintain some sense of directionality,, however (en)harmonically freed - which in the cases of Haden's ability to anticipate/follow whenever Ornette or Don modulated or queried tonality was one of the undoubted guiding factors of that band, along with a steady pulse, whereas at any time Bley/Swallow/Giuffre operated across a broader patch, embracing changes, modes unusual for jazz (but not say Bartok), free atonality and tone rows, while being less tied pulsewise or rhythmically.

Speaking of couterpoint, I seem to remember you had great things to say on the old forum about the Gerry Mulligan Big Band of the early '60s, which I too remember as particularly exciting.

[BLUESNIK'S REVOX]

I think its time there was a revival in Welsh Coast jazz.

The blues came up the River Usk to Newport and on to the bop clubs of Bargoed. Not many people know that Phil Upchurch was Charlotte Church's dad.

BN. (Prof, Jazz Studies, Penarth Polytechnic)

[Serial_Apologist]

I think its time there was a revival in Welsh Coast jazz.

The blues came up the River Usk to Newport and on to the bop clubs of Bargoed. Not many people know that Phil Upchurch was Charlotte Church's dad.

BN. (Prof, Jazz Studies, Penarth Polytechnic)

Oh I'd always assumed his job was getting people into church...