Editor's picks on UK Jazz Radio

I know blogs are supposed to be about opinion, but despite my best professional efforts to remain objective I've a feeling a dash of idiosyncrasy has crept into my new UK Jazz Radio show, so it probably belongs here. It plays every Saturday at 20.00 but you can hear it here and now.

This month's playlist is:

1) ‘Voyager’ from Eric Harland: Voyager (Space Time)
2) ‘Rubber Band’ from Miles Davis: Perfect Way (Warner)
3) ‘Danzon’ by Carl Kress and Dick McDonough from Rumba Jazz (Rhythm & Blues Records)
4) ‘Time Gentlemen, Please’ from Bobby Wellins: Time Gentlemen, Please (Trio Records)
5) ‘Sticks And Stones’ from Killer Shrimp: Whatever Sincerely (33 Records)
6) ‘Run For Cover’ from David Sanborn: Original Album Series (Warner/Rhino)
7) ‘I Fly’, featuring Claire Martin from Nigel Waddington: Bigger Pictures (Cala Records)
8) ‘Days Of Wine And Roses’ from Toots Thielemans: European Quartet Live (Challenge)

Those opinions in detail:

ERIC HARLAND: TREACHERY
One of the current crop of young saxophonists who’s impressed me, mainly for his Warne Marsh-Chris Potter style playing, is Walter Smith III and he’s on top form on Voyager, a newly released live set from Paris in 2008 led by drummer Eric Harland. The set also features guitarist Julian Lage who was the subject of a Jazz Journal cover feature last year. Here, on the track Treachery, the saxophone and guitar circle each other in a delightfully supple, mobile manner. Julian is in meatier mood here than on his largely reflective leader date of 2009.

MILES DAVIS: RUBBER BAND
The new Miles Davis Perfect Way anthology from Warners illustrates Davis’s work from 1985 to the early 90s, including tracks from Tutu, Amandla, Dingo, Doo-Bop, Miles & Quincy Live At Montreux and Live Around The World. It also features five previously unreleased tracks, three from Nice in 1986 with guitarist Robben Ford and two from the mysterious Rubber Band sessions of 1985. The title track of those sessions is fascinating: the guitar is credited to Zane Giles but to me it sounds note for note like Mike Stern.

CARL KRESS AND DICK MCDONOUGH: DANZON
The influence of Latin music of jazz is a fascinating topic since to my mind much of the syncopation of jazz, right up to the funk of the 70s is related to Latin rhythm. Nick Duckett’s new double CD, Rumba Jazz, traces examples from James Reese Europe’s 1919 Memphis Blues to Bunk Johnson’s 1945 Porto Rico. He stops short of the well known postwar cubop of Gillespie et al because his object is to show the older, more hidden occurrences of Latin in jazz. One question remaining though is where is the clave rhythm in early New Orleans jazz? To me it hardly seems apparent. The preponderance of major key harmony might be another factor that veils the Latin influence. Nick Duckett will be expanding on this subject in an article for Jazz Journal in the New Year. Meanwhile I’ve chosen Danzon by guitarists Carl Kress and Dick McDonough. With its suspenseful pedal tone and modern harmony who would guess, except from the primitive recording quality, that this was recorded in 1934?

BOBBY WELLINS: TIME GENTLEMEN, PLEASE
Time Gentlemen, Please is the title track from Bobby Wellins’s new album on Trio Records with John Critchinson, Andrew Cleyndert and Mark Taylor. Wellins’s saxophone style is oblique and floating, but underpinned with great propulsion. There’s obviously a strong influence from the melodious Stan Getz, often considered a mainstream player. But this sounds timelessly modern, rather like Stan himself, who was in fact always moving forward. Is there a hidden meaning in the title Time Gentlemen, Please? Is it a plea for less free playing? Or a statement that gentlemen who play time are pleasing? Whatever, the flawless and creative music here raises no complaint.

KILLER SHRIMP: STICKS AND STONES
Daft name, Killer Shrimp, but it seems every young jazz band these days has to brand itself like an indie-rock band to get noticed. In fact the Shrimps aren’t that fresh-faced, including in their number veteran hard bopper Ed Jones. On their new album, Whatever Sincerely on 33 Records, the band add in some electronic noises to spice up the bebop. They’re hardly needed though as the following track, Sticks And Stones, illustrates. Somehow it wouldn’t be as noticeable without the noises though. Seems a nice gimmick, well realised.

DAVID SANBORN: LET’S JUST SAY GOODBYE
Warner’s reissue wing Rhino has lately put out budget-priced five-CD sets featuring classic George Duke and David Sanborn. The Sanborn set has the albums Taking Off, Sanborn, Heart To Heart, Hideaway and Voyeur. I was torn between playing Duck Ankles from the 1975 Taking Off with its characteristically gritty Brecker Brothers style harmony and something from the Marcus Miller period. The punchy production and superb bass playing of the Miller period won out, so it’s Run For Cover from the 1981 Voyeur.

NIGEL WADDINGTON: I FLY
Nigel Waddington is a part-time arranger from London, featured in January 2011 Jazz Journal, who should be working at it full time. As Mike Gibbs says on Nigel’s second album, Bigger Pictures, just out on Cala Records, “Where has he been?”. The album ranges beautifully across a wide range of orchestral jazz style with soaring horn and string arrangements and top soloists. It’s almost completely professional, uplifting stuff. ‘Almost’ because there’s a tiny horn clinker in one of the ensembles at one minute into the cover of Barry Finnerty’s Breckerish stormer You Got It. It’s a tiny, human glitch in acres of superb quality that includes a big-band take on Pat Metheny’s James and an idiomatic tribute to Steely Dan with Jacqui Hicks. But here’s Nigel’s string writing at its best, a setting for Claire Martin on Nick Homes’s tune I Fly.

TOOTS THIELEMANS: DAYS OF WINE AND ROSES
There’s a lot of talk of European jazz these days which typically seems to owe more to the great European classicists than jazz or any kind of people’s music, but along with Reinhardt and Joe Zawinul, Thielemans seems to me to be one of handful of truly European jazzmen. Like Reinhardt, Toots Thielemans manages to sound distinctly European while still swinging. The metal reed instrument instantly evokes images of the continental café, gypsy romance and middle European buskers. Here’s Toots in his mid 80s on Days Of Wine And Roses from live dates between 2006 and 2008 recently issued as European Quartet Live on the Challenge label.

Many colours of mainstream

MOBO winning saxophonist YolanDa Brown is "widely regarded as the emerging 'voice' of mainstream jazz in the UK says her publicist (and Musicology magazine). What shade of meaning is in 'mainstream'? One imagines here the broadest usage, not much linked to Stanley Dance's coining of that term in the 1950s and its subsequent adoption to indicate the post-70s swing revival characterised by Scott Hamilton and his associates.

Brown plays funk and soul, and immediate correlates on both sides of the gender gap (and with due respect to those players' technical command) are David Sanborn and Candy Dulfer. Mainstream here probably means not free, not improv, not punk-jazz and not bebop - rather, jazz as accessible stuff with a melody, blues and (heavens above) dancing. 

Her putative populism (that PR refers to "everybody's best kept secret") perhaps also interested the University of East London, which a few days ago awarded her an honorary doctorate, simultaneously honouring such other popular figures as Bianca Jagger and Time Out editor Mark Frith.

In any event, YB's debut album is out in 2011 so we'll hear what 'mainstream' has become.

Fusion ok - official

He’s probably not the first saxman that comes to mind as a jazz-rocker (Mike Brecker, Tom Scott, Wayne Shorter?), but Dave Liebman mounted a laudable defence of fusion in interview in the New York Times on Friday.

He says that when he gets the National Endowment for the Arts Jazz Masters Award in January, it will mark the establishment’s de facto validation of the fusion aesthetic, because few, if any, recipients of the award since its inception in 1982 have been as strongly identified with fusion and its challenge to mainstream jazz conventions.

His statement ought to provoke an interesting reaction from critics such as Gary Giddins who hold that fusion was an unfortunate temptation to which jazz musicians of good taste were driven by the privations brought about by the advent of rock.

Muted magic

Anthony Coleman as Satchel Mouth

It might seem odd, given that jazz is an aural experience, but Dan Pritzker has made a silent film of the Louis Armstrong story. Nature, and jazz, abhor a vacuum though, and showings of Louis in the eastern US, 25-31 August, are being accompanied by a 10-piece band led by none other than sometime Louis-reincarnation Wynton Marsalis. The screenings also feature pianist Cecile Licad, playing music by the 19th half-Creole New Orleanian virtuoso Louis Gottschalk.

Pritzker, billionaire son of Hyatt hotel founder Jay Pritzker, was to have made his directing debut with a film on Buddy Bolden but shelved that after taking inspiration from a showing of Charlie Chaplin’s City Lights accompanied by a live symphony orchestra in 2001.

The website describes the film as a “homage to Louis Armstrong, Charlie Chaplin, beautiful women and the birth of American music,” in which “the grand Storyville bordellos, alleys and cemeteries of 1907 New Orleans provide a backdrop of lust, blood and magic for the 6 year old Louis.” There is no news as yet of showings outside the US.

Jazz not fit for US

The headline might thrill the hearts of those who think Europe is now the crucible of jazz innovation, but it actually announces something rather more banal. It’s the kind of punning title that has prefaced reports on the imminent launch of the hybrid version of the Honda Jazz and reflects the fact that the new petrol/electric model is not to be sold in the US, where the car has been called the Fit since it appeared in 2001.

Another jazz car - the  Eureka Vintage

But why does Honda not use the name “Jazz” for the US model? One will look in vain for American embarrassment about the low origins of one of its greatest musical creations. It turns out “Fitta” was the original name for the car but that it was abandoned for Europe when Honda realised it was Nordic slang for female genitalia.

So no, Eurojazzophiles, America has not, as more hysterical commentators might have it, been struck through in the jazz address book. Europe has though, created its own unique jazz, albeit nothing grander than a compact hatchback.

Weather bird

Barry Harris - reluctant testee

Bebop guru Barry Harris, the man whom Joe Zawinul credited with igniting his individuality, is in London this week to hold his annual jazz piano workshops and play Pizza Express gigs.

Oddly, given his expertise, Barry has always declined to sit a blindfold test with JJ. To be fair, perhaps, like Mike Stern in a similar situation, he would prefer not to pass judgement on his fellow musicians. But one never knows - no explanation is ever forthcoming. It perhaps should be rememembered that both players are Americans and may have encountered in Leonard Feather's tests for Downbeat what Pat Martino, presented with the same proposal a few years ago, said was an experience he wasn't about to be repeating.

The story of Zawinul's creative ascendancy arises from an interview some years back in which Zawinul told me he ran into Harris on a Manhattan street and Harris said, in effect: "You play great bebop - you sound just like me." At which, said Zawinul, he vowed never to play bebop again and began developing the epochal style evinced by Weather Report.

Sonny's wild rose

Rollins and medal

Sonny Rollins was on Sunday the first jazz player to be awarded the Edward MacDowell medal. The 2010 award is for composition, although both Rollins and presenting critic Gary Giddins made the point that jazz players compose on the spot (and rightly so, since jazz solos are more often arrangements of prepared motifs than pure improvisation). The award has been made annually since 1960 by the MacDowell artists colony in New Hampshire that was founded in honour of Romantic composer Edward MacDowell (1860-1908).

The Rollins award is not entirely, or even at all, a demonstration of the classical establishment basking in the reflected demotic glory of jazz. As Rollins pointed out, he and MacDowell go back. He said: ‘Edward MacDowell’s spirit engaged me many years ago when, as a child, I was inspired by his composition To A Wild Rose. Later, I had the opportunity to make it a part of my repertoire, performing it on many occasions and eventually recording it.’

The award is perhaps a little curious since Rollins is better known as an improviser than writer. Wouldn’t Wayne Shorter, who matches the vintage equally well, have been a closer fit for his groundbreaking Blue Note compositions of the early 1960s?

But 2010 is Rollins' year. He'll be 80, Saxophone Colossus: A Portrait Of Sonny Rollins, the biography by Bob Blumenthal is issued (review by Bob Weir in October’s Jazz Journal) and he's touring to octagenarian acclaim around the world.