New Year Post 5: sort of best of

It’s still January, so I can just about get away with thinking about all the jazz related stuff I enjoyed over the last year (can’t I?).   I hope I don’t stop noticing and being amazed (and not a little overwhelmed) by how much new music, live music, wildly creative music there is around us. My listening is pretty strongly channeled into jazz related (whatever that is) zones and still its a fabulous all enveloping wave.  Here’s what I noticed in my usual idiosyncratic swim through the last 12 months or so.

Pianists. I saw live some longstanding heroes and people who’ve long made me shake my head in wonder.  Dave Kikoski was one. When was he last in UK?  If it was recently I missed him. In full flight a sight to behold and I didn’t have to leave town to see him. He was smuggled in with Jonathan Kriesberg’s band at the Hen & Chicken (one of several Storrer coups last year).  Also in Bristol, also smuggled in with another band (Martin Speake’s this time), Bobo Stenson, the Swedish maestro.  An evening at Colston Hall’s Lantern to remember. I finally saw Enrico Pieranunzi, Italian maestro, astonishingly debuting at Ronnnie Scott’s in AugustJulian Arguelles got my vote in the LondonJazz end of year accolades after the tumultuous gig with the FDR Big Band playing South African Jazz at Cheltenham, then the sublime quarte Tetra at the Vortex later in the year.  They all fulfilled stratospheric expectation.  Another highlight was the slightly more apparently left field, until you actually see them, double bass duo of Christian McBride and Edgar Meyer at St. George’s during Bristol’s (once again Jazz and Blues Festival).  Here’s a little taste

There was plenty of recorded music to taste as well, that all enveloping wave was even more overwhelming. There’s a few that got stuck, catching me at a particular moment or just demanding to be listened to again.   Early in year a typically divergent but compelling Charles Lloyd release I long to See You and around the same time, Sam Crockatt‘s Mells Bells (that one got my London Jazz end of year vote). Sam lives out west and there were a few releases from local (or near local bands) that really caught my ear.  The prolific Kevin Figes released two albums, a quartet and and octet, and Andy Nowak‘s trio recording was a little beauty.  Two from slightly further afield that really got lodged in the play list was the rocky grooves of  Duski  led by Cardiff bass man Aidan Thorne and  (keeping a Cardiff connection, albeit a now former resident) Huw Williams’ Hon was an excitingly varied, scintillating album.   But I’ll finish where I started, with a pianist. I’ve already waxed lyrical about the joy of re-visiting, via a re-release, the Erskine trio and its the piano of John Taylor that stays with me.  A good note on which to look forward into 2017

Here’s to a happy, music filled New Year – even if I am a bit slow starting!

Julian Arguelles’ Tetra, Vortex, Thursday 12th June

Tetra in full cry are something to behold.  Leader saxophonist Julian Arguelles may supply all the compositions, but the process of dismantling, reassembling and playing them with joyful zest is a group effort with, it seems,  pianist Kit Downes and drummer James Maddren not so much anticipating or responding to each other  as sharing a thought process and Sam Lasserson’s bass a constant lithe, propulsive thread in the mix.  They touched touched down at the Vortex on a tour playing material from their CD File 17-06-2016, 08 15 45released last year on Whirlwind Records alongside tunes from staging posts on Arguelles’ now lengthy career.

The gentle, elegiac From one JC to Another, singing gently stroked chords moving underneath breathy tenor phrases introduced the band and gave way to a quintessential Arguelles piece. Bulerias, consciously based on flamenco dance rhythms, had a theme in which the  saxophone’s spiralling phrases were thrillingly locked with the drums and punctuated by fragments of gutsy  riffs that dragged the ear back to jazz and blues. The leader’s solo was a characteristic surge and flow of undulating phrases, listening felt a bit like surfing on waves of adrenaline with the flowing lines sculpted into melodic phrases.  Lardy Dardy was a contrasting mood full of yearning and poetry.  Circularity, first recorded with John Taylor and Dave Holland was another, bubbling swaggering riff that dissolved into a series of  fizzing duo exchanges so that each member of the quartet had a dialogue.  It was riveting, greeted with roars of appreciation from the rapt Vortex crowd.    Phaedrus,  an even older tune, also first recorded with John Taylor, File 17-06-2016, 08 16 22was another reminder that  any material sounds freshly minted in this band’s hand no matter what its vintage. Its another urgent, flowing theme, ascending harmony building flurries of anticipation.  Arguelles unfurled layers and layers of fluid phrases, building intensity then it dissolved into spacious, exploratory phrases and chords as the piano took over.  Little, by little Downes, as he had done all evening,  assembled motifs and phrases, condensing the sound until glittering lines were flying in all directions.

Tetra seem to weave magic whenever they play and Thursday’s visit to the Vortex was no exception.

Bristol/ Bath – Phronesis and Tetra, a weekend of treats

There was probably no collusion, but on the weekend of 10th to 12th June,  Wiltshire Music Centre and Colston Hall have between them managed to arrange  gigs by some the best, most exciting jazz musicians on the current scene (that’ll be UK, Europe or anywhere according to some).

Was Jazzwise magazine  being a bit lurid when they described Phronesis as one of the most exciting bands on the planet?  Their gig at Wiltshire Music Centre, Friday 10 June is one of only three opportunities in UK to find out on their current tour.  They are promoting their release of a new album on Edition Records (their  UK launch gig is at London’s Cadogan Hall on the Sunday). There’s no doubting the energy and exhilaration this trio generate when they play.  Much of their music is built around Jaspar Hoiby‘s catchy bass riffs, frenetic rhythms from Anton Eger on drums and fragments of melody that bounce around the band, often as not, traced out by pianist Ivo Neame, but they move as an improvising unit and there is no telling where they’ll end up. Hailing from Denmark, Norway/Sweden and UK respectively they have an international reputation.  What a way to start the weekend.  Book here.

Having taken Saturday to recover, The Lantern, Colston Hall is the only place to be on Sunday 12th June. Saxophonist  Julian Arguelles has been a singular and creative presence on the British Jazz Scene since playing with Loose Tubes in the 1980s.  Last month he received a Parliamentary Jazz Award for his recording Let it Be with the Frankfurt Radio Big Band and now he’s on tour with his quartet Tetra and what a band this is. Playing Arguelles’ compositions that are always deeply rooted in jazz, but constantly delight and surprise with flights of lyricism and echoes of music from all over the world, the band are all sublime musicians. Kit Downes on piano and James Maddren on drums are some of the most in demand payers around, Downes leading plenty of award winning projects of his own. Sam Lasserson  is amongst the most exciting of the formdiable current crop of bass players.   They too are touring on the back of an album, this one on Whirlwind and much praised by John Fordham in the Guardian. Book those tickets here

Cheltenham Jazz Festival Round -Up, April 30th & May 1st

Cheltenham Jazz Festival  just gets better. Uncertain sunshine and icy squalls couldn’t take the gloss off, although it may temporarily have driven a few punters out of the open air festival pitch in Montpellier Gardens. Capacity of the wallet and ability to absorb sublime music limited me to a couple of gigs on Saturday and delicious trio of them on Sunday, almost all of which have been reviewed by London Jazz News’ near wall to wall coverage , so brief impressions here.

Saturday

Having in recent years come across various alumni of either Birmingham, or Norway’s Trondheim Conservartoires, I thought it was about time I caught up with the Trondheim Jazz Exchange‘s now annual showcase of the current generation of students on Saturday lunchtime. Three ensembles, each a mixture of students from both institutions performed mainly original music seasoned with a few classics. The second drumless ensemble, performed a piece based around a haunting theme that emerged after much atmospherics, and the ethereal sound of Sondre Ferstad‘s harmonica. A sparse pulse from Ben Moorhead‘s bass anchored Simon Ovinge‘s Frisell-esque guitar solo, all lingering phrases and country-ish reverb.   Vittoria Mura‘s tenor completed the quartet that rather stole an absorbing show for me, sandwiched as they were between two very classy sets full of vim and explosive and exploratory playing.  An absorbing hour or so in the present that augered well for the future.

After a bit more dodging of showers, I was back in the Parabola Theatre for The Printmakers to show just why they’ve been nominated (again) for a Parliamentary Jazz Award.  After a few introductory riffles and sighs from the band, Breath Away developed a seemingly effortless headlong momentum, James Maddren on drums and Steve Watts‘ bass a master class in how to lock together and generate propulsive energy without filling all the space up. With Norman Winstone‘s vocal twisting around Mark Lockhart‘s sax it was glorious whilst being familiar.  Niki Iles‘ Tideaway had a ‘natural effects central’ intro with Winstone and Lockhart evoking breezes whilst Mike Walker supplied the seagulls from somewhere inside his guitar. His Clockmaker had the band flying and Maddren lighting a fire under them on a vamp out, no wonder Walker was grinning. They are surely one of our finest small groups, with a playful energy and restrained lyricism that enfolds the listener.

Sunday

It didn’t take long for the FDR Big Band to warm the cavernous Town Hall early on Sunday afternoon, playing Julian Arguelles‘ arrangements of South African Jazz, much of it penned by the exiles, like Chris Macgregor, Dudu Pukwana with whom he, brother Steve and Django Bates played. Those three were the guests with the big band. Arguelle’s arrangements were sublime, packaging up the irrepressibly joyous tunes and grooves for maximum impact and bouncing the melodies around the band, so they were like a massed choir.   The repertoire was largely that of the CD release Let It Be Told,  but this was a rare, possibly not to be repeated chance to see the live set. I for one left wondering how anything was going to come close for the rest of the day (or maybe the year).

Trumpeter Christian Scott provided a total contrast later in the afternoon on the smaller of the two tented stages, the Jazz Arena.  Tony Dudley Evans (who must have been getting quite a bit of exercise as he popped up introducing every band I saw), described Stretch Music as an embracing  different types and inspirations for music beyond classic jazz. That could have been a metaphor for the whole festival as I’d arrived there via the future  of North European jazz, the cream of English bands and a German big band playing South African music.  It was ironic then, that this set stretched the definition the least although it was no less thrilling for that. This was a new line-up for Scott, with alto Logan Richardson and pianist Tony Tixier joining Scott. As a result, there were just a couple of forays into stretch territory with pre-recorded loops, heavy beats, distorted twisting melodies and lots of effects producing ghostly hoots and keening screeches from the trumpet. Most of the set however was an exuberant, burning versions of some classics with Eye of the Hurricane, Equinox, a modal Donald Harrison piece that even had Scott quoting solos from So What before the tune suddenly veered off into a racing take on Miles Davis’ Dolores.  It was exhilarating stuff, Richardson showing just why he’s so lauded currently and TIxier on piano a revelation. The packed Jazz Arena crowd loved it.

My day ended with another contrast, back in the Parabola Theatre for a Sunday evening set IMG_0002.jpgwith Gioavanni Guidi‘s trio.  The intimate space could have been designed for a set like this.  The trio weave between quite simple themes, sometimes a tone poem, at others the most delicate of Bach – like decorated melodies, still others repeating growling motifs. There may be a hail of notes, sounding like they might be pouring from a bucket, or a single bell like tone allowed to fill the room. Joao Lobo shadowed and complemented every move with rustles, disruptive flurries of rhythm and moody squeals using what looked like random ‘objet trouves’.   A delightful set, ending with an encore of, getting its second airing of the day, the South African stomper, You aint gonna know me cos you think you me dedicated by a grinning Guidi to Claudio Ranieri.

There may be bigger festivals, there may be louder festivals, but the diverse programme and concentrated buzz of Cheltenham’s annual jazz feast is surely hard to beat.

 

 

 

April and May – Jazz in Bath and Bristol

A quick scan of what’s on over the next couple of months has persuaded me that pointing out a few mouth-watering prospects is more realistic than any attempt at an exhaustive overview.    Before getting too far with that, you really should keep a close eye on the weekly gigs at Bristol’s Be Bop Club, Fringe Jazz and Future Inns and Bath’s St. James Wine Vaults.  All are a mixture of touring and local bands, but the standard is uniformly high.  Hard not to mention Guess the Bleating (featuring three-quarters of Get the Blessing with addition of keys-man Dan Moore and drum legend Tony Orrell) on 18th May at the Fringe and Andy Sheppard‘s Hotel Bristol on 20th April at the same venue and here’s hoping you made it the launch today at the Colston Hall  of two (count ’em) albums by Kevin Figes, a quartet and and octet recording and promoting his label Pig Records, also home to fine recordings by Jim Blomfield, Cathy Jones and more to follow it seems. That assumes you weren’t lured by The Necks playing the organ in the main hall. See what I mean?  You can’t have too much great music, but still…

Here then, are those highlights.  There’s a Nordic Jazz theme to relish. Swedish pianist  Bobo Stenson  is in Bristol at Colston Hall’s Lantern with Martin Speake‘s Change of Heart Quartet.  Stenson, not heavily recorded under his own name, but to sublime effect when he has been, with a series of trio records on ECM, has been a sideman to sax players from Jan Garbarek to Charles Lloyd and his collaboration with Speake dates from a Cheltenham Festival gig in the early 2000s as an International Quartet that included Paul Motian on drums and Mick Hutton on bass. That line- up played a gig in Bristol at the QEH theatre to an audience of under twenty people (that included me). They subsequently recorded for ECM and its music from that album they’ll be playing, with two of the the crop of exceptional young British jazz players, Conor Chaplin on bass and James Maddren on drums completing the quartet. In May, the Nordic action shifts to St. Georges with Norwegian trumpeter Arve Henriksen on the 12th.  Accompanied by Eivind Aarset and Jan Bang and a visuals show to boot,  expect plenty of electronics, sound-scapes and a unique experience.  The following week on 19th May,  legendary bass player Arild Anderson is there for an acoustic set with Scottish saxophonist Tommy Smith and Italian percussionist Paolo Vinaccia. This line-up has recorded two beautifully melodic and vibrant albums for ECM and this gig is part of a very short tour with only a few gigs in UK.

There’s more.   Tucked away at the top of London Road in Bath, Burdall’s Yard is Bath Spa’s performance space and on April 22nd hosts Sam Crockatt‘s Quartet.  If you want to hear what the some of the most in demand players on the Bristol scened sound like, let loose on a a bunch of artful structured, original jazz tunes by the saxophonist leader get yourself along to this one; Kit Downes on piano, James Maddren on drums and Oli Hayhurst on bass.  Downes and Maddren will be back in Bristol in early June at Colston Hall’s Lantern (ok, its not May but this will be a great gig) this time with Julian Arguelles‘ band Tetra.  Arguelles is,for my money, one of the most distinctive composing and fluently lyrical improvising voices in British jazz over the last twenty years. Sam Lasserson is on bass for that one

Finally, that man Ian Storrer, promoter of jazz gigs in Bristol for a lot of years, has done it again.  Friday May 13th sees New York come to the Hen and Chicken in Bedminster in the shape of the Jonathan Kriesberg Quartet.  Kriesberg is one of the hottest guitarists  on the New York scene and his pianist Dave Kikoski has an eye popping CV that includes Bob Berg and Michael Brecker.  This is one not to miss.

A selection then,  from a large box of treats over the next few weeks, that’s without mentioning the jazz festival over at Cheltenham at the end of April with a incredible line up and something for everyone.

 

 

The late list, my favourite moments and sounds of the last 12 months.

The ‘best of’/’highlights lists’ for 2015 have been and gone and there were a lot of them this year it seemed.  They are always entertaining. Jazzwise mag inveigled a huge cast list to each compile one with a complex point scoring system – always intriguing results.  I managed not to do one in December, or even early January (I just got busy… didn’t get around to it).  There is pleasure to be had in looking back however. So here we go.  It’ a very personal selection, dependent entirely on my idiosyncratic preferences and what may have appealed on a particular day or at different times.  Rules of my game are explained for Live thrills and recorded pleasures respectively.

Gigs & Live Moments  ( a small slice)

For a live gig or moment within a gig, the simple rule is  ‘Can I still conjure up the moment and the thrill?’, or maybe  it returns unbidden to give me a tingle of pleasure at the recollection.

Anthony Braxton at the Lantern, Colston Hall in Bristol for his only UK appearance. A unique and mysterious improviser I’ve remained haunted by the Ghost Trance Music

Julian Arguelles  at Cheltenham Festival with a septet playing inventive arrangements of his enchanting, exuberant music

When I looked back, I realised a trio of duos with Gwilym Simcock stuck out:

Gwilym Simcock/ Jason Rebello at Wiltshire Music Centre in the Bath Festival. Intergenerational? Maybe, but certainly interactive and plenty of fireworks alongside lyrical flights

Gwilym Simcock/ Brigitte Beraha at Falmouth University, an impromptu moment at the end of a solo concert, a moment of magic as piano and voice took flight together on I fall in love too easily

Gwilym Simcock/ Michael Wollny at a tribute to John Taylor, two former pupils of the maestro let fly on Ambleside Days, an extra ordinary moment.

Norma Winstone/ Ralph Towner Another tribute/ celebration and another duo.  These two slid into a version of Celeste that gave me goosebumps at an ‘Evocation’ of Kenny Wheeler’s music in London Jazz Festival.

Paolo Conte at the Barbican. Is it jazz? Cabaret? Pop?  Who cares – the veteran, unclassifiable  Italian crooner wove his spell and charmed everyone ( that’ll be me and what seemed like a significant proportion of Italian and Italian descended London residents)

Kamasi Washington at the Lantern again this time for one of two UK appearances(the Lantern had a good year for coups!) and demonstrating live with only septet (no massed choirs or orchestra on hand) why his debut deserved the title The Epic

I could list all those moments at my regular haunts (St. James Wine Vaults, Bath; BeBop Club; increasingly irresistible, The Hen and Chicken), however one each:

Iain Ballamy – at the Wine Vaults. Never knowingly miss an opportunity to hear him. Back in January last year at the Wine Vaults, just the theme from East of Sun was worth the trip.

Wildflower Sextet – at the BeBop Club early in the year. Any Wayne Shorter related outing is likely to get my but this sextet led by Matt Anderson were a particular delight.

Hotel Bristol –  at The Hen and Chicken. Fierce competition for this slot, but the Andy Sheppard orchestrated quartet has it with fierce blowing, delectable melodies and grooves and the inevitable top-drawer collaborators.

Recorded Music

In the case of  recorded music the question is ‘Do I still get the urge to play the CD/ Download?’     Memory can be deceptive and what happened most recently can loom larger than it should. Discovering that iTunes has sneakily logged a good proportion of my listening, reveals what have been the most frequent of my ‘just got to listen to that again’ or ‘I’m in the mood for..’ choices.  Taken alongside what has got stuck in my (old tech) six CD changer and picking a few faves from albums I’ve reviewed, generates a list that may reveal more about my preferences than anything else, but also looks pretty high quality to me.

 Heavily edited in the interests of not overdoing it –

Stuck in the CD changer

Kamasi Washington – all three discs of The Epic. It’s a throwback (whether jazz or dance music), its very current, its so the ‘next thing’, its irresistible.

Julian Arguelles – Let it Be Told,   Mining the South African repertoire and arranging for Big Band its fabulous (and coming to Cheltenham Jazz Festival in 2016)

Babelfish – Chasing Rainbows was this piano, voice, bass and percussion quartet’s second outing. Understated, fizzing with energy, creativity and exquisitely twisted melody.

Reviewed with humility and repeating on the playlist

Andy Sheppard  –  Surrounded by Sea.  Trio Librero with the addition of Elvind Aarstead, whisperingly magical

Charles LloydWild Man Suite, a unique instrumentation. Maybe only Charles Lloyd would respond to the suggestion of adding strings by doing it with lyra and cimbalom, but its vintage Lloyd

The Printmakers – its been a bit of wait, but in Westerly at last we have a recording of this sublime and joyful music from Brit super group

Others, some reviewed some not, but high on the count of ‘plays’

Bebe Buchanan Tagel  – Gone . Danish outfit, featuring that Arguelles chap again. Euro? Yes, lyrical? Yes? Distinctive – oh yes.  Thanks Peter Bacon for the review tip-off

Drifter  – Flow An Edition Records orchestrated quartet with Alexi Tuomarila on piano. Vibrant, exciting contemporary jazz

Mads La Cour – Almuji  I keep returning to this loose limbed, weaving in and out of structures blowing from the Norwegian trumpeter’s quartet

Eyebrow  – Garden City hypnotic and uplifting slowly evolving grooves and hooks from this trumpet, drums and effects duo of Pete Judge and Paul Wigens

Indigo Kid – Fistful of Notes Not nearly enough fanfare around this second outing for Dan Messore’s quartet playing his enticing and quirky melodies

Veneri Pohjola Another Edition Records release, early in 2015, Finnish trumpeter Pohjola on a set of emotion packed originals and the leaders gorgeous, bang up to date trumpet sound kept calling me back

 

A slice of Cheltenham: Arguelles, Scofield and M & M (and W)

Pic by jez matthews

Pic by jez matthews

Saving the best ’til last can be a bit a risky – will the reality bear the weight of expectation?  There were no worries on that score as Julian Arguelles‘ band, swelled to a septet at the behest of the Cheltenham  festival, delivered an exultant performance last Sunday to bring the curtain down on the sequence of gigs at the beautifully appointed Parabola Arts Centre. His core band of Sam Lassserson on bass, Kit Downes at the piano and James Maddren behind the kit were augmented by the bass clarinet and saxes of George CrowleyPercy Pursglove’s  trumpet and flugelhorn and the trombone of Kieran McCloud. IMG_1453There were so may moments to savour, with composer and arranger in chief Arguelles making full use of the expanded pallette. Fugue, gave us a typically thrilling one.  The central idea was a quintessential Arguelles theme – a mazy extended line that played straight could have had a classical, perhaps Iberian tinge to it, but in his hands had a gutsy swagger with the whiff of a New York cellar bar to it. By the time the layers had built up, there was a hue and cry to wake the dead.  Triality closed the hour and half set with a similar tumult. But even when the band were blazing, there was fiercely controlled intensity to everyone’s playing.  There were tender and more lyrical moments, ballads, individual flurries, including a segue from Percy Pursglove reminding us trumpeters do circular breathing too, that had the audience bug-eyed as he produced a sound from his trumpet that sound for all the world like a microphone in a hurricane.  And at the centre the sublime playing of Arguelles whose phrases flow and spiral, rising and falling in volume like a sigh and growling and grooving in an elemental way.  As Tony Dudley Evans reminded us, this is another voice first heard with Loose Tubes that has become a major  creative force.

That was a great end to a day at Cheltenham’s Jazz festival that had another very good year. Deep pockets are needed if you want to attend more than a few gigs so mine was a day trip on Sunday with the climax in the Parabola Theatre, dipping into a programme that started during the week and intensified over the week end (reviews of much it on Bristol 24/7 and London Jazz News from messrs Benjamin and Turney respectively including ‘Sax legend Saturday’ that saw appearances from Archie Shepp, Lee Konitz and Joe Lovano).   My Sunday started with the intriguing collaboration between fusion guitar legend John Scofield and young, making waves German Pablo Held Trio who showed the Montpellier Gardens audience why they have been getting excited reviews.  Grooves appeared out of swirling abstractions  Pablo Held built layers dissonant arpeggios and stabbing chords over fractured surging IMG_1450pulses from Jonas Burgwinkel on drums and Robert Landfermann on bass.  Somehow it fit seamlessly John Scofield’s guitar as he sometimes seemed to gouge short phrases and notes out with his unabashedly rocky sound, at others deliver silvery bursts of boppish runs thread through the trios accompaniment. At times they kicked into familiar bluesey riffs and they finished on a post- bop burn up on a standard whose title tantalisingly eluded me.  A dense, absorbing gig in stark contrast to Medeski, Martin and Wood who wowed the Big Top with there furious organ trio blend of rock, blues,  New Orleansy gospel. I picked up a fair bit of social media muttering from MMW aficionados about the second half of the gig with guest Jamie Cullum. It did have the air of a jam as they reached for Nature Boy and Caravan, the latter a natural victim for John Medeski’s howling synths and organ, but they gave every appearance of having a great time on stage and it was hard not to relax into it and enjoy from where I was sitting.

A thoroughly satisfying day of jazz immersion with the  festival vibe around the Montpellier Gardens hub and late night jam at Hotel du Vin irresistible. I’ll be back