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Previously Unreleased Louis Armstrong Recordings
Dot Time Records has announced a partnership with the Louis Armstrong Educational Foundation, Inc. This newly established agreement will include four previously unreleased productions from the archives of Queen's College, which houses the Louis Armstrong collection. The releases will be part of the Dot Time Records 'Legends' series. Jerry Roche, who heads the Legends Series for Dot Time Records, was in search of undiscovered gems by Armstrong and was stunned by what he found when researching the archives.
"When I heard this music by Louis Armstrong", said Roche, "I was totally overwhelmed. Producing this music would mean people could connect again with the greatness of Louis Armstrong." Roche who will be producing this series of never before commercially released music said, "I made it my mission to make the music available." The productions will be available in CD, Vinyl and Digital formats. A special collector's edition will also be available.
Photograph courtesy of the Louis Armstrong House Museum.
Oscar Cohen, who was Louis Armstrong's manager and is the sole and exclusive agent for the Louis Armstrong Educational Foundation, Inc. and the estate of Louis Armstrong said, "We are so happy to be working with Dot Time Legends to bring more of Louis Armstrong's beautiful recordings to the world, to hear the music and feel the love".
The first will be released mid May and will feature a 1950 studio recording. This 55 minute recording was recorded in San Francisco, California on January 20, 1950 by the Standard Oil Company for their radio show, “Musical Map of America.” The recording was episode 19, “Musical Story of New Orleans,” and featured Armstrong, Jack Teagarden and Earl Hines. For reasons not known, the broadcast was never made and Armstrong was given the acetate discs of the sessions. Future releases will feature selections of recordings of concerts that date back to the 1950s and '60s, including the 1957 South American Tour, which will be a double CD release. Some of the musicians that performed with Louis on these concerts were Jack Teagarden, Earl Hines, Cozy Cole, Edmond Hall and Trummy Young just to name a few.
Bop Apocalypse: Jazz, Race, The Beats, And Drugs
We have not received a review copy of this book by Martin Torgoff, but it looks interesting. Available from Amazon, the book is described there:
'The gripping story of the rise of early drug culture in America, from the author of the acclaimed Can't Find My Way Home with an intricate storyline that unites engaging characters and themes and reads like a novel, Bop Apocalypse details the rise of early drug culture in America by weaving together the disparate elements that formed this new and revolutionary segment of the American social fabric. Drawing upon his rich decades of writing experience, master storyteller Martin Torgoff connects the birth of jazz in New Orleans, the first drug laws, Louis Armstrong, Mezz Mezzrow, Harry Anslinger and the Federal Bureau of Narcotics, swing, Lester Young, Billie Holiday, the Savoy Ballroom, Reefer Madness, Charlie Parker, the birth of bebop, the rise of the Beat Generation, and the coming of heroin to Harlem.'
'Aficionados of jazz, the Beats, counterculture, and drug history will all find much to enjoy here, with a cast of characters that includes vivid and memorable depictions of Billie Holiday, Miles Davis, John Coltrane, Jackie McLean, Allen Ginsberg, William S. Borroughs, Jack Kerouac, Herbert Huncke, Terry Southern, and countless others. Bop Apocalypse is also a living history that teaches us much about the conflicts and questions surrounding drugs today, casting many contemporary issues in a new light by connecting them back to the events of this transformative era.'
'At a time when marijuana legalization is rapidly becoming a reality, it takes us back to the advent of marijuana prohibition, when the templates of modern drug law, policy, and culture were first established, along with the concomitant racial stereotypes. As a new opioid epidemic sweeps through white working- and middle-class communities, it brings us back to when heroin first arrived on the streets of Harlem in the 1940s. And as we debate and grapple with the gross racial disparities of mass incarceration, it puts into sharp and provocative focus the racism at the very roots of our drug war. Having spent a lifetime at the nexus of drugs and music, Torgoff reveals material never before disclosed and offers new insights, crafting and contextualizing Bop Apocalypse into a truly novel contribution to our understanding of jazz, race, literature, drug culture, and American social and cultural history.'
The 2017 Jazz Grammys
February saw the 59th Grammy Awards ceremony in Los Angeles, hosted by James Corden. As the media reported widely, Adele was the biggest winner of the night with five trophies, including Album of the Year for 25, Record of the Year, and Song of the Year for Hello. Interestingly, as of this year, recordings released solely through streaming services were eligible to enter the award process. The award for Best Music Film went to The Beatles: Eight Days a Week The Touring Years, which if you haven't seen it, I certainly recommend.
The categories and nominations for Grammy Awards are many and cover far more areas than we usually see in the headlines. In the Jazz category, the winners were:
Best Improvised Jazz Solo - I'm So Lonesome I Could Cry – John Scofield, soloist
The UK's young Jacob Collier won two Grammys for Best Arrangement, Instrumental or A Cappella for You and I from his acclaimed album In My Room (click here to listen to You And I) and another for Best Arrangement, Instruments and Vocals (for Flintstones - click here for video)
Lionel King has written a comprehensive Profile of the career of drummer Don Lawson for us that you can read on a separate page if you click here, and where you will find a number of examples of Don playing. Titled Don Lawson - Modern Jazz Musician, the article begins:
'Don Lawson, percussionist, one of the dwindling company of survivors of the earliest days of the modern jazz scene in London, sadly passed away last year. His recording career from jazz enthusiasts’ points of view spanned the comparatively short period of 1952-59 in which he was associated with virtually all the foremost British musicians and visitors from overseas who pioneered modern jazz in this country.'
'Born in Ladbroke Grove, London on July 7th 1930, his first professional engagement was with Kenny Graham’s outfit, The Afro Cubists, in September 1951. He claimed that before joining this now legendary group he had virtually no experience outside a few dance gigs and had received no formal tuition. Invited to sit in, his natural talent was noted by Graham, ten years his senior. An invitation to join officially came within days.'
Don became resident drummer at Studio 51 and recorded for a number of labels and with several groups, including those of Don Rendell, Keith Bird, Ken Moule, Dill Jones, Don Harper and Frank Horrox as well as accompanying many visiting jazz musicians.
Click here to listen to Don Lawson with Don Rendell on You Stepped Out Of A Dream. You will find other examples with Don's story in the main article.
What we haven't been able to find are more pictures of Don Lawson that we can include with Lionel's article. Can anyone help? If you can, please click here to let us know.
Click here for our page of 'Jazz Remembered' articles.
Robin Kidson sends us his recent poem 'Flamenco Sketches'. Robin says: 'It's a poetic evocation of Flamenco Sketches which is the last track on the Miles Davis album, Kind of Blue. The poem puts into words thoughts and images generated by listening to the track. This has been one of my favourite pieces of music for a very long time. Some of the images come from various visits to Southern Spain over the last few years; others arise from an interest in Spanish history, particularly around the time of the Civil War.'
Click here to listen to Miles Davis and Flamenco Sketches.
In Spain, Bill Evans is still playing on,
Miles Davis picks a scab upon his lips,
Paul Chambers plucks a string, in Spain, in Spain,
And Jimmy Cobb makes drum and cymbal swish,
Men and women are lined up to be killed;
[You are able to listen to the music at the same time as reading this article and without leaving the page if you click here. This will take you to the article on another page on our website where some computers might ask you to allow the music to play on the page. Alternatively there are links to the music on YouTube etc. in the article below].
Photograph by Curtis Schwartz
Trish Clowes started playing piano when she was four, often making up her own tunes as she went along. Over time, her love of playing and composing developed an affinity with the saxophone and a place at London’s Royal Academy of Music. In 2015 she won a BASCA British Composer Award; she has appeared on television as part of BBC Proms Extra as well as making radio broadcasts, and she has released four albums; we recently reviewed her latest excellent album, My Iris (click here for the review).
In May 2012, with funding from the PRS for Music Foundation, Trish curated her first Emulsion festival featuring ECM artist Iain Ballamy. The event has been successful to the point where it has resulted in four subsequent festivals and has grown to travel beyond London where Trish is now based. Emulsion is a cross-genre music festival offering a platform for contemporary composition and improvisation. Emulsion V recently concluded Trish’s My Iris tour at the Midland Arts Centre in Birmingham, and featured special commissions for the Emulsion Sinfonietta from Hans Koller, Percy Pursglove, Joe Cutler and Cevanne Horrocks-Hopayian and was hosted by BBC Radio 3 presenter Fiona Talkington.
The Trish Clowes Quartet:
Trish has been commissioned by BBC Radio 3 to compose a new piece for the BBC Concert Orchestra and this will be performed as part of a family concert later in 2017. Other ongoing projects include the GLOW quartet with pianist Gareth Williams and Under Your Wing, a song-based project with vocalist Norma Winstone and guitarist Mike Walker (The Impossible Gentlemen).
Trish Clowes has recently been appointed at the Guildhall School of Music & Drama as a professor of jazz saxophone and improvisation.I managed to catch Trish for a tea break.
Hi Trish, tea or coffee?
You have been getting some great reviews for your album My Iris. Is it
very different to your last album, Pocket Compass?
[Click here for an introductory video to My Iris. Click the picture for some extracts from the album].
How did the tour go? Were there any memorable gigs or happenings?
[Click here for a video of Trish's Quintet playing On / Off at Pizza Express in 2015. In this video, Gwilym Simcock is at the piano and Calum Gourlay is the bass player].
Mary Lou Williams
[Click here to listen to Mary Lou Williams playing It Ain't Necessarily So from her album Black Christ Of The Andes]
Hob Nob, Bourbon, Garibaldi or digestive biscuit?
I now have a partner in crime to help me run Emulsion, saxophonist Tom Harrison ... and new music specialist/radio presenter Fiona Talkington is also part of the team in an advisory capacity (and she hosted the event in Birmingham) ... so I finally have the support I need to sustain it longterm. It takes a lot out of me, but I found this last edition extremely energising... So we're already plotting and dreaming for the next one.
[Click here for more about Emulsion]
[Click here for a conversation between Gareth Williams and Trish about their music].
Who have you heard recently that we should listen out for?
[Click here for a video of Ashley Henry playing Herbie Hancock's Chan's Song].
[Click here for our review of Camilla George's album Isang]
From across the pond, if you're not aware of Ambrose Akinmusire's Quartet yet, with Sam Harris, Harish Raghavan and Justin Brown, they all totally blew me away when I heard them live recently. They are playing in London in July at Ronnie Scotts I think.
[Click here for a video of the Trish Clowes Quintet playing A Cat Called Behemoth at the Pizza Express in 2015].
[Click here for Trish's website]
Click here for more Tea Breaks
Georgia Mancio and Alan Broadbent’s Songbook
Alan Broadbent was born in New Zealand on 23rd April 1947. He has worked with so many jazz musicians, people like Woody Herman, Chet Baker, Bud Shank, Irene Kral, Charlie Haden ... the list goes on. In the early 1990s he was part of Natalie Cole’s Unforgettable... with Love album, and wrote an orchestral arrangement for her second video with her father, Nat King Cole, When I Fall in Love, which won Alan his first Grammy for "Best Orchestral Arrangement Accompanying a Vocal". His second Grammy was for an orchestral accompaniment written for Shirley Horn of Leonard Bernstein's Lonely Town. He is Diana Krall's conductor for her occasional orchestra concerts and he wrote six string arrangements for Paul McCartney's album Kisses on the Bottom (click here for a video of My Valentine). In the 2008 Queen's Birthday Honours Alan was appointed a Member of the New Zealand Order of Merit for services to jazz.
Georgia Mancio says: ‘About 20 years ago, when I worked at Ronnie's, Simon Woolf recommended I listen to Irene Kral as I was just starting singing. That led me to the sublime duo albums she made with Alan Broadbent. In 2012 I sent Alan an email asking if he ever wanted to do any UK gigs with a singer totally unknown to him! That led to some duo gigs the following year and later the start of our songwriting partnership.’
Since then, Georgia has established herself as a major jazz singer and runs her own international voice festival - ReVoice! Alan Broadbent invited Georgia to write a lyric for The Long Goodbye – a piece originally conceived for Charlie Haden’s Quartet West. One song led to another and over nine months they reimagined some of Alan’s earlier recorded work (Just Like A Child, The Journey Home, One For Bud); brand new creations (Hide Me From The Moonlight, Lullaby For MM) and even a piece composed by Alan when he was just 17 years old (Where The Soft Winds Blow).
Click here for an introductory video from a live performance at Pizza Express Jazz Club.
Although both have enjoyed other collaborations, this will be the first time Alan’s music has been heard entirely with words and it is Georgia’s first full collection of original writings. We look forward to reviewing the album in a future issue.
[You are able to listen to the music at the same time as reading this article and without leaving the page if you click here. This will take you to the article on another page on our website where some computers might ask you to allow the music to play on the page. Alternatively there are links to the music on YouTube etc. in the article below].
Charlie 'Bird' Parker's classic tune Laird Baird was recorded by the Charlie Parker Quartet in New York City on 30th December 1952 with Charlie Parker (alto sax), Hank Jones (piano), Teddy Kotick (bass) and Max Roach (drums). The recording was released in 1953 on the Verve label.
It is an example of what became known as 'Bird Changes', a unique version of the 12-bar blues that he also used in tunes such as Blues For Alice and Si Si. Technically, he uses a series of sequential II-V or secondary II-V progressions.
Bird Blues in Bb
On the sleeve notes for a 1977 LP reissue, Bob Blumenthal writes: 'Nothing gets in the way of Parker's genius here - ideas come in flashes, effortlessly, and everything he conceives is articulated on the horn. Laird Baird with its quicksilver alto choruses, is enriched by the impeccable and increasingly melodic drums of Max Roach .... As always Hank Jones is elegant and lyrical, a model of grace without pressure.' There is less information around about bassist Teddy Kotick except that he was a regular sideman with many of the leading figures of the 1940s and 1950s, including Charlie Parker, Buddy Rich, Artie Shaw, Horace Silver and Bill Evans.
Click here to listen to Laird Baird.
Laird Baird was dedicated to Baird, Charlie ‘Bird’ Parker’s son with Chan Parker. Chan, a dancer in New York City, was born Beverly Dolores Berg, but she was also known as Chan Richardson and Chan Parker. Chan and Charlie were never married. In 1950, when Chan moved in with Charlie she was divorced and already had a daughter, Kim, from her marriage to musician Bill Heyer. Charlie also dedicated a composition to Kim, and that too has become a jazz classic, perhaps even more so than Laird Baird. Click here to listen to Kim. As we shall see, life mirrors music in the prominence of Baird and Kim.
Charlie and Chan also had a daughter, Pree, who was born in 1951. Baird was born in 1952. Sadly, Pree died in 1954 of cystic fibrosis. As Chan was to say later, not much had been know of the disorder in those days and the death of the two year old was devastating to the family. As Charlie Parker himself died a year later in 1955, four year old Baird would have remembered little about his father.
When Baird was born in 1952, that also coincided with an occasion when Bird was playing in Detroit and he encountered his first son, Leon, by his marriage to Rebecca Ruffin. The youngster, who was about eleven at the time, knew very little about his father either as apparently neither his mother nor his grandmother, Addie, ever talked to him about Charlie. Clearly, the early 1950s were significant years as far as Bird's children were concerned and a particularly difficult time for Chan. Things had never been straightforward for the relationship anyway; Charlie's frequently upredictable drug and alcohol abuse and sharing an inter-racial relationship in those days can't have been easy.
We should remember that Charlie had two other wives before he and Chan got together - Geraldine Scott and Doris Syndor. Charlie never divorced Doris. It would be easy to get sidelined in this article about Charlie and Chan's various relationships and the repercussions on them from his death. Certainly the disputes that arose as to who should have what of Charlie's after he died were fraught. What is worth noting at this point is that despite everything that followed, Baird's obituary says that it was Baird who received the royalties from Charlie's music as he was the only surviving child of Charlie Parker.
This picture of a family Sunday dinner in 1953 appears on the Kansas City Jazz Ambassadors site and gives us a rare glimpse of Baird. Right to left: Pree on Charlie Parker's lap, Aunt Rae, Chan, Baird, Kim, Uncle Jimmy, Aunt Janet.
Asked later by Kansas City Jazz Ambassadors about Bird's relationship with Baird and Pree, Kim said: 'My mother was very upset because Pree was sickly. They didn’t know what cystic fibrosis was then – they hadn’t given it a name. At that time, cystic fibrosis had not been isolated as a disease, so it had no name. She died at 2½ of pneumonia. My mother would be upset at Bird because he would pay attention to Baird andme, and he would not pay attention to Pree. I think he was afraid of her vulnerability because she was sickly. My mother said to him, “Baird has a middle name. You wrote a song for Baird. You wrote a song for Kim. Why didn’t you write a song for Pree? Pree doesn’t have a middle name.” You know, he died almost a year to the day after Pree died.
KCJA: You had a really cohesive family unit, where you would have Sunday dinners. It seems to me that phase of the relationship is when Bird and Chan were very tight. When did you first notice they were drifting apart?
Kim: I was often shipped uptown to my grandmother’s, so I knew something was afoot. I remember my mother coming home from the hospital after Pree died. Pree died five times. Her heart stopped in the taxi, and in the hospital, and then she finally succumbed. Bird was in California. My mother probably called my grandmother to come and stay with me and Baird while she took Pree to the hospital. But I remember my mother, just remember her sobbing, sobbing.
The site also carries this picture of Bird, Chan and Baird in Washington Square, New York, after the death of their daughter Pree.
Two years after Bird's death in 1955, Chan married saxophonist Phil Woods and moved to France, where she spent much of the rest of her life. She died in 1999 and we can read her obtuary in The Independent here. So what happened to Baird? As Charlie and Chan were estranged at the time of Bird's death, Baird probably went on living with his grandmother.
In interview (click here) Kim Parker said: '.... my sister (Pree) died and then everything sort of fell apart. That was the year before Bird died. My sister died in March 1954 and Bird died in March 1955. That was pretty downhill. .... My mother moved us to New Hope, Pennsylvania thinking a change of scene would be beneficial for everyone. My mother was completely devastated by the death of her daughter and Bird. ... When Bird died we were living with my grandmother in Lumberville, Pennsylvania. Bird didn’t actually know where we lived. My mother had moved us and my mother was working, checking coats at a jazz club in Trenton, New Jersey. She was not at home, my grandmother was babysitting, when we got a call from an uncle - saying that Bird was dead. My grandmother lived on what later became known as Swing Street - 52nd Street between 5th and 6th Avenue - I was shipped off there after my father died. ......'
Returning to the tune, the now unavailable www.jazz.com quoted Marcus Singletary saying that Laird Baird ‘... contains quite a few awesome solo passages by the jazz legend even though the music is less visual than is normal for a player whose reputation rests upon his pushing of musical boundaries. The tune is played at mid-tempo, and, while slower tunes usually require some form of intensity to validate them, this one lacks it.’ Singleton thinks that the recording sounds more like a rehearsal take: ‘the tune follows a predictable pattern: solo piano improvisation starts it, followed by open, swing-time hi-hats and a round of ensemble solos …. An indistinct Parker riff bookends the solos, and listeners are left without a sense of why the saxman was regarded as a creative genius… it sounds like the group knocked this off in under ten minutes. Unfortunately, you will not consider this track amongst the top hundred in the Charlie Parker canon.’
Whatever Marcus Singleton thought, (and I enjoy the recording far more than he does), Laird Baird has remained a popular track and still appears on Charlie Parker record compilations. It is always going to be difficult to better the original, nevertheless here is a version played by Walter Bishop with The Charlie Parker Memorial Band in Frankfurt in 1991 (click here).
As to the choice of name, both 'Laird' and 'Baird' are intriguing. I have not been able to find out why Charlie and Chan chose ‘Baird’ for a name. It’s similarity to ‘Bird’ is interesting as is its similarity to ‘Bairn’ the Scottish name for a child. There is certainly a Scottish link to ‘Baird’ - Baird is primarily a boy's name of Gaelic, Scottish and Irish origin. It is used as a first name although it is more commonly a surname (e.g. Logie Baird). Perhaps Charlie or Chan heard a Scot pronounce 'Bird' ... we shall probabaly never know, I have not come across them having any Scottish links.
So what do we know about the name 'Baird'?
Interestingly, the meaning of ‘Baird’ is "a poet, one who sings ballads" – you can see the connection to the English word "Bard". As a surname, Baird is also primarily Scottish. An old legend says that the Baird family obtained their lands in Scotland when one Baird rescued King William (a Scots king from 1165 to 1214) who was being attacked by a wild boar. King William ‘the Lion’ was also known by the nickname Garbh, "the Rough". He was only named ‘The Lion’ after his death because the chronicler John of Fordun called him the "Lion of Justice". While the validity of the legend of the rescue from the boar is uncertain, the Baird family did obtain lands in Aberdeenshire.
Of course, the Scottish link is also there in the word ‘Laird’. 'Laird' is often seen as a Scottish equivalent to the English word ‘Lord’, but there is a difference. Did you know that you can become a Laird quite easily?
A ‘Laird’ is primarily a Scottish landowner. We read ‘The term ‘laird’ has generally been applied to the owner of an estate, sometimes by the owner himself or, more commonly, by those living and working on the estate. It is a description rather than a title, and is not appropriate for the owner of a normal residential property, far less the owner of a small souvenir plot of land. It goes without saying that the term ‘laird’ is not synonymous with that of ‘lord’ or ‘lady’. ... Historically, the term ‘bonnet laird’ was applied to rural, petty landowners, as they wore a bonnet like the non-landowning classes.’
Apparently, you can become a Laird for under £20.00. There are websites where you can purchase your own Highland Estate (or plot of land) and you or someone you love ‘can be a Lord, Lady or Laird of your very own Scottish estate’. Although the websites clearly confuse the titles, it seems that they sell you a patch of land in Scotland enabling you to become a ‘Scottish landowner’. We’re not sure what the Scots think of that (but we can guess!). However, if Baird Parker were still alive, perhaps someone should buy him a big chunk of land.
Perhaps then, it is coincidental that in 1995, Stephen Scott (piano) and Christian McBride (bass), both Scottish surnames, recorded a nice version of Laird Baird on a Roy Hargrove Trio album Parker's Mood (click here) - Hargrove sits this one out.
So what of the boy and man who was named Baird Parker? Not much.
References to Baird Parker on the internet do not help very much. I once read a comment that he had been killed in the Vietnam War, and there is an undated, anonymous entry on www.answers.com that says: ‘I once spoke to Baird's sister, Kim. He is alive and living somewhere in the greater Philadelphia area. The rumor is that he is seemingly afflicted with his father’s addictions. Sad really, I do remember him as a talented musician and friend. I've recorded at his place in Lansdale, PA, he's working a store with a studio run by a partner, Guilio Kitao. He does have similar problems as alluded above, but still seems to be faring okay. My kid likes him well enough, and he still likes to play.’
The reference to Philadelphia seems correct as we read that Baird died at the age of 61 in Philadelphia in March 2014. On forum.saxontheweb.net, someone writes: 'Just want to let the forum know that Baird Parker, son of Charlie Parker and Chan
Richardson Parker Woods died on March 23 at Lansdale Hospital in suburban
Philadelphia. He was 61 years old and the cause of death was kidney, liver and
respiratory system failure. He was the last surviving child of Bird and sole
recipient of Royalties acquired by the music of Charlie Parker.
Baird played guitar and was running a recording studio with a friend in Pennsylvania for some years.'
This picture of Chan, Charlie and Kim appears on the website Bird Lives, but here again, there is little mention of Baird.
The Philadelphia Enquirer reported: 'Charles Baird Parker, 61, of Lansdale, the sole surviving child of the jazz saxophone great Charlie "Bird" Parker, died Sunday, March 23, at Lansdale Hospital of kidney, liver, and respiratory failure. News of Mr. Parker's death was released by his attorney, Albert Oehrle. Mr. Parker's father died in 1955 at age 34 while in mid-career as a jazz soloist. He helped create bebop, characterized by quick tempos and improvisation. His mother, Chan Woods, a dancer, died in 1999.'
There must be those who remember Baird Parker, but their memories do not seem easily available on the internet. We have a few clues as to his character from the above, but not much about what sort of person he was.
With more than a little scepticism on my part, perhaps we could trurn to Kabalarian Philosophy for a clue. The Canadian Encyclopedia has called the Kabalarian Philosophy the world's smallest religion. Founded in the 1930s by Alfred J. Parker, 'this philosophical religion teaches the Mathematical Principle relating mathematics, language, name, mind, and Consciousness. The Philosophy teaches that 'the name, being composed of mathematically ordered symbols of language, represents a mathematical formula that influences an individual's entire life. They teach that name is the means by which the abstract forces of Consciousness are brought into form through these name formulas.' The Kabalarians offer 'Name Reports' to validate this teaching, and balance names to bring these forces into harmony. They teach that 'unbalanced names adversely influence health, limit success, and disturb one's overall happiness, harmony, and balance.' As I understand it, they will analyse your character from your name and if you want to change your character, help you find a name that will change it. ' The service is not free.
Nevertheless, Kabalarian Philosophy tells us what it thinks the character is of the name 'Baird'. 'The first name, Baird, makes you self-reliant, creative in practical ways, and an independent diligent worker. You work best alone making your own decisions as it is not always easy for you to respond to the advice and direction of others as you feel the need to be in control. You enjoy the simple pleasures of life especially activities that take you outdoors. You have a few good friends who enjoy similar activities. Living much within your own thoughts and finding it challenging to communicate easily with others, you are, at times, too candid and honest in your assessment of situations. You feel this separation from others and would give anything to be always lighthearted and friendly instead of serious and shy. This influence of this name can adversely affect the health of the heart and lungs because of self-consciousness, sensitivity, and lack of verbal expression.Tension also centres in the head affecting either the eyes, ears, sinuses, or teeth.'
[I do not advocate that anyone spends money with the Kalabarians. Their ideas seem similar to those of Numerology whose journal says: 'They derive their teachings from a yogic system named yantra yoga. However really they are watering down the precision of that system for the sake of financial gain and keeping their organization alive. Their organization has been hit by numerous scandals. It’s the usual thing with cults and cult leaders – sex scandals involving the leaders with multiple girls raised in the group, raised in groupthink. Legal action was taken and the leader was found guilty as charged. Further court cases are in the works.']
And so we are still left with many unknowns about Baird and the tune Laid Baird. More information is probably out there if someone wanted to unwrap things further. In the meanwhile, we can continue to enjoy the tune and remember that Bird wrote it for a little boy born before the family fell apart.
We sign off with this Japanese video of Laird Baird played by a young band, Otsuka ? in 2015 - click here. The video is of the complete gig, Laird Baird starts at 11.05. (Can anyone help with the text translation?).
Louis Armstrong and his All Stars in 1965 playing Back Home Again In Indiana. Louis Armstrong formed his six-piece All Stars in 1947 and they often used Indiana as their opening number. Here we have:
Louis Armstrong (trumpet), 'Big Chief' Russell Moore (trombone),
Eddie Shu (clarinet),
Billy Kyle (piano),
Arvell Shaw (bass) and
Danny Barcelona (drums).
Guitarist Kurt Rosenwinkel released his new album Caipi in February. The album band includes Eric Clapton on guitar but here is a live performance from December with Kurt (guitar, keyboards, voice), Pedro Martins (guitar, keyboards, voice), Olivia Trummer (piano, keyboards, voice), Frederico Heliodoro (bass, voice), Antonio Loureiro (percussion, voice) and Bill Campbell (drums).
'America Northumberland'. A short film by Diane Taylor. Robin Kidson who wrote the poem Flamenco Sketches in this month's issue, describes the influence of America on him as a youth in Northumberland in the 1960s.
In case you missed it in the news item above, this is Jacob Collier with Flintstones for which he has won this year's Grammy Award for Best Arrangement, Instruments and Vocals
Studio video from Blazing Flame recording King Of The Rain for their new album Set List Shuffle. Julian Dale (double bass, cello),
Peter Evans (5 string electric violin),
Anton Henley (drums and percussion),
Steve Day (voice, words, percussion),
Mark Langford (tenor sax, bass clarinet). You can catch the band playing live:
This is Cantor from saxophonist Miguel Zenón's new album Tipico. The album is his 10th recording and features his usual quartet with Luis Perdomo (piano) , Hans Glawischnig (bass) and Henry Cole (drums). Click here for details and to sample the album.
Do You Have A Birthday In March?
[You are able to listen to the music at the same time as reading this article and without leaving the page if you click here. This will take you to the article on another page on our website where some computers might ask you to allow the music to play on the page. Alternatively there are links to the music on YouTube etc. in the article below].
I first met Lara Eidi in the summer of 2016 at the final recital for her Master’s degree at London’s Guildhall School of Music and Drama. I was impressed. At the time I wrote: ‘Lara Eidi is one of those singers who connects with the audience as soon as she starts to sing. Perhaps psychologists can explain the gift – and it is a gift – personality? a love for what she is doing? an empathy with the music and the band? knowing she can take her great voice where she wants it to go? Whatever it is, it gained her a distinction and an appreciative audience at her final recital.’
It is now some months later in 2017 and I am meeting again with Lara at the small but excellent Buhler & Co café in Walthamstow. At the end of last year she went to Athens, but now she is back. The UK should be pleased!
Lara Eidi describes herself as being of ‘Greek, Lebanese and Canadian ethnicity’. What that means is that Lara was born in Athens where her father moved from Lebanon and her mother is Canadian Lebanese. This is reflected in Lara’s interest in music that crosses genres; she studied jazz at the Guildhall, but her background and approach embraces a wider perspective.
Her father plays guitar and also sings, but that is the music of Bob Dylan and Jethro Tull. Her mother paints and writes stories, and Lara’s younger brother plays drums and guitar. The only other family member who pursues music professionally, however, is Lara’s uncle, Billy Eidi, a classical pianist based in Paris. Billy trained to be a doctor but at the point of qualifying rang his father to say that he could not follow that route. He wanted to be a musician. His father was as supportive as Lara’s family has been in her decision to become a musician.
Click here for a video of Billy Eidi playing Liadov’s beautiful Berceuse op.24 n.2 In Sol Bemolle Maggiore.
Lara was playing piano by the age of eight and has gone on to play to degree standard. She also sang in the school’s classical choir at Kodaly Conservatoire. The school was equally supportive of music staging choir and theatrical productions. When Lara was eleven, there was a competition between school choirs to take part in a production of Bizet's Carmen. Kodaly Conservatoire won the competition and perhaps Lara’s ‘Eureka moment’ came when she was cast to lead the children’s choir in the production. ‘I was coached by one of the leading ladies,’ Lara recalls. ‘Not just in singing, but in all the aspects of theatre, even down to how to deal with dressing room protocols.’ The experience was a turning point.
On leaving school, Lara took a Gap Year and then pursued a Bachelor’s Degree in English Literature. Looking back, she thinks that was valuable in her approach to song writing. She had continued to sing, found a voice coach, Karen Solomon, in Athens who, together with Lara’s determination, finally led to Lara deciding to pursue music professionally when she returned from her studies in St Andrews, Scotland. ‘Looking back,’ she says, ‘I think that really helped with my creative writing and song writing.’
Returning to Greece, Lara taught English as a foreign language but contact with renowned international Greek singer Maria Farndouri led her to sing with the gypsy jazz quintet, Hot Club of Greece, who played gypsy jazz in the style of the original Hot Club of France. It was there she realized she loved the improvisational aspect of jazz and knew she wanted combine it with the folk music of her upbringing.
Working as a backing singer as well as solo artist, she began writing and arranging her own songs and building up contacts with other musicians. One of these was cellist and collaborator Stavros Parginos with whom she started her duo project and performed frequently at the Lebanon Music Festival. Later guitarist Giotis Paraskevaidis joined them to form the trio.
Meeting a sound engineer who encouraged them to record, Lara self-produced and self-funded her debut EP recording, Little People, in 2012. She describes the album as ‘Music for the People’ - ‘The music speaks for those whose voice has been drowned out by society; whose thoughts of hope are shadowed by a dominance of power.’ Writer Andrea Vermark described Lara's voice and music as: "Sincere, heartfelt. It was then that I realised that music runs through Lara’s veins. It is not just something she does, but it is a part of her very being, far more than just an intense passion."
Click here to listen to Opened Eyes from the album.
Her second EP, Tell It Like It Is, followed in 2014. The band’s music was described as: ‘... developing their folky sound into something more experimental and contemporary. As they are not your typical four piece band, they used their talents as multi-instrumentalists and at every performance gained the respect of their audience by sounding like a small jazz-folk-pop ensemble, backed by Lara on voice, chorus loops, piano, acoustic guitar, Stavros on the cello, loops, and Giotis on guitars, loops, and beatboxing.’
Click here for a video of Lara singing a cover of Be My Husband, a song by one of her favourite singers, Nina Simone. The video was recorded with Stavros and Giotis on a rooftop in downtown Athens.
Tell It Like It Is received good reviews and a cover of Pharrell Wiliams song Happy was picked up for airplay - click here for the video of Happy.
Lara thought it was time to take her career a step forward. She applied for the Jazz Voice course at London's Guildhall School of Music and Drama and was accepted. It was where she first came across the inspirational jazz singer, Ian Shaw. Lara remembers her first meeting where he asked her to sing Evergreen. She clearly made an impression as Ian has stayed in touch with Lara, inviting her to sing at his November 2016 An Evening Of Words And Music concert in support of refugees. Lara’s version of Mongo Santamaria's Afro Blue can be seen on video - click here. Lara’s arrangement of the song opens with an Arabic taxim introduction and ends with her own extra verse and original lyrics.
During her time at Guildhall, where she also took a leadership course and continued with developing her piano and writing, Lara learned much from the School’s tutors and visiting tutors amongst whom were Lee Gibson, Malcolm Edmonstone and Liane Carroll. She was also playing at various function and other gigs and beginning to realise that she wanted to use her voice to bridge jazz, folk and other music. Click here to watch a video of Lara with Giotis on guitar singing Errol Garner’s Misty at a private function in Athens.
I have already mentioned the impression Lara made at her Final Recital at the Guildhall. We can see the event on video (click here), but it is unable to really capture the atmosphere of the occasion and the charisma that was evident in a performance that gained her a distinction in her Master’s degree. The other musicians here are other students from Guildhall: Edwin Ireland (bass), Charlotte Keeffe (trumpet) and Adam Teixeria (drums) and Jamie Saffiruden, a regular accompanist for Ian Shaw and a well known musician on the current jazz scene, is the pianist.
When the course finished, Lara returned to Greece, but decided that she wanted to return to London, so in 2017 she has come back and is teaching at the City Academy as a voice tutor covering a range of genres and developing her interest in the theatrical side of music. She is involved with a Gospel workshop and putting together a duo with singer Andri Antoniou, as well as working on a project with trumpeter Charlotte Keefe. Lara plans to be touring with a trio and is working on new material for a further album, and if possible she would like to collaborate with an orchestra to develop some of her music.
Lara Eidi is a singer whose talent stands out. If you have the opportunity to hear her sing, take it. We shall let you know when Lara releases her next album.
Nat Hentoff In Interview
Nat Hentoff, American historian, novelist, jazz and country music critic, and syndicated columnist for United Media sadly passed through the Departure Lounge in January this year. I have used a quotation from one of his books at the top of this page in our 'On A Night Like This' item.
Nathan Irving "Nat" Hentoff was the jazz critic for The Village Voice from 1958 to 2009. He then moved his music column to The Wall Street Journal, which published his work until his death. He wrote not just about Jazz but also on many issues included in the American Constitution's First Amendment which 'prohibits the making of any law respecting an establishment of religion, ensuring that there is no prohibition on the free exercise of religion, abridging the freedom of speech, infringing on the freedom of the press, interfering with the right to peaceably assemble, or prohibiting the petitioning for a governmental redress of grievances.' He often wrote on First Amendment issues, vigorously defending the freedom of the press.
Click here (or on the picture) for an interesting 20017 interview with Nat Hentoff by Monk Rowe for the Fillius Jazz Archive at Hamilton College (57 minutes).
It is not unusual for UK readers, and maybe others, to spend time checking out jazz from the UK and the U.S.A. but less so on music from Europe. Peter Slavid hosts a monthly, 2 hour radio show at www.mixcloud.com/ukjazz and says: 'The programme has a very specific purpose. First of all the show is entirely European and entirely modern. There is so much American (and American style) jazz around that European jazz doesn't get a fair shout. And yet I think European jazz is now more creative and more exciting.' In his show, Peter features a Record Of The Month and has offered to share that with us.' This month he features the band Equally Stupid.
Escape From The Unhappy Society
Sigurdur Rögnvaldsson (Iceland) - baritone guitar;
The last month has seen an unusual profusion of high quality jazz/rock/fusion albums, with top quality CDs from Krokofant, Morten Schantz and Led Bib amongst others. Any of those would more than qualify as a CD of the month, but all are from established bands and well known musicians.
Equally Stupid is much less known, certainly here in the UK. They have only been going for a few years and this is only their second CD. None of the musicians are well known, although David Meier will be familiar to some from his work with Schnellertollermeier (who will be coming to the Cheltenham Jazz Festival this year) and also in Trio Riot with our own Sam Andrea.
This is a band that some might call a power trio, with clear influences from prog-rock and fusion and if that was all it did I would probably have picked a different CD. Certainly some of the tracks are straightforward heavy weight jazz-rock. But I think there is more to this band – and probably still more to come. There's an interesting use of electronics, plenty of complexity in the rhythms, and some really nice melodies mixed in with some free improvisation too.
Equally Stupid was founded as a duo in 2009 by Finnish saxophonist Pauli Lyytinen and Icelandic guitarist Sigurdur Rögnvaldsson, both of whom enjoyed playing energetic and rhythmical music. The duo served that purpose; Equally Stupid’s music is powerful and furious, with fast and often complicated melodies that still remain melodic. Equally Stupid played a few gigs in Scandinavia in 2009 but then laid low for a few years. As a result of Pauli and Sigurdur’s attempts to revitalise Equally Stupid, David Meier, a Swiss experimental jazz/rock drummer, joined them early in 2013. David, with whom Sigurdur had been playing in other projects, proved to be the perfect drummer for the band.
Their website is a little out of date, but you can read more about them if you click here.
Two Ears Three Eyes
Simon Spillett Quartet
In February, photographer Brian O'Connor went to a fundraising gig for the National Jazz Archive in Loughton, Essex, and took these pictures.
Simon Spillett's Quartet was featuring: Simon Spillett (tenor saxophone); John Critchinson (piano); Alec Dankworth (bass) and Clark Tracey (drums).
Tony Andrews was there too and describes the event:
'It is difficult to define what constitutes 'The Perfect Afternoon'. A Full House at The National Jazz Archive Fundraiser held at The Loughton Methodist Church with The Simon Spillett Quartet got about as close to perfection as is physically possible. The band with Simon on tenor Sax, John Critchinson on piano, Alec Dankworth on double bass and Clark Tracey at the drms took us back in time to the era of Tubby Hayes and captured the '60s magic with amazing accuracy.'
'I was around in the '60s so I can bear witness to the authentic atmosphere. The band played eight very varied tunes, some ballads, other up tempo numbers and my favourites were Weaver of Dreams and a tune unfamiliar to me called Lament, by J.J Johnson.'
[Click here to listen to J J Johnson playing Lament with Milt Jackson and Ray Brown].
'The audience was enthralled with the whole experience of being transformed back in time and so was I. A truly Perfect Afternoon and for such a good cause which needs all the support it can get from every Jazz Fan in The UK.'
'Simon Spillett really is an amazing musician who can be classed amongst the best. I believe Tubby Hayes would be so proud to know his music and history is in such capable hands.'
[Click here for a video of the Sonny Rollins Trio playing Weaver Of Dreams in1959]
[Simon Spillett is the author of The Long Shadow of the Little Giant: The Life, Work and Legacy of Tubby Hayes - click here]
All pictures © Brian O'Connor, Images Of Jazz
Brian O'Connor's hard back book, packed with hundreds of photographs is now available. It can be obtained from Brian at: Brian O’Connor, 48 Sarel Way, Horley, Surrey RH6 8EW. Tel: 01293 774171. Email: firstname.lastname@example.org. The book is priced at £25 plus £4.95 post and packing (UK).
Pete Ward writes: 'In Alex Revell's photo (click here), the un-named riverboat musician appears to me to be Bernie Newland. He was certainly in the London area at that time. I came across him again in the Taunton area in the '60s, and again in the Bristol area in the '70s. I understand that he went to live in Germany sometime later, but I'm told that he is no longer alive.'
Sandy Brown and The Ramblers
Sandy Brown was present on this recording session from 2nd August 1956, as was bassist Jim Bray. The full personnel was: Alan Lomax (guitar, vocal); Peggy Seeger (banjo, vocal); John Cole (harmonica); Bryan Daly (guitar); Jim Bray (bass); Alan Sutton (washboard); Ewan MacColl (vocal) and Shirley Collins (vocal). They recorded 3 tracks that day with Sandy: Hard Case; Dirty Old Town and Oh! Lula. According to Sandy Brown's discography, a fourth track, Railroad Man, did not include Sandy.
The tracks Oh! Lula and Railroad Man are available on a compilation album from Lake Records - British Traditional Jazz - At A Tangent Vol.2 (click here).
Hard Case is on a number of compilation albums (click here), but I have been unable to find Dirty Old Town on a current issue.
Dave EvansChris Watford writes:
"I was very sad to learn of the death of that fine New Orleans-style drummer, Dave Evans. On a number of occasions around the turn of the century, he helped me out when my regular drummer, Jerry Card, was unavailable for my New Orleans Standard-Bearers' gigs. Dave could always be relied upon to produce an authentic and steady beat, and was not one to want to take flashy drum solos, which suited my idea of a George Lewis-style band ensemble sound."
"If you type into Google "Chris Watford's New Orleans Standard-Bearers on You Tube" (click here), it should take you to a track "Black Cat On The Fence", which shows Dave amongst some of his ex-Ken Colyer friends, namely my regular banjoist Bill Stotesbury and Geoff Cole depping on trombone as he often did at that period. This track was taken from a DVD of part of a session at Runnymede Jazz Club in February 2002, and if anyone wants a copy, just email me at email@example.com ."
Peter Cook says: Reading with interest re Art Wood (click here), the eldest of The Woods boys, Ted Woods was drummer with Colin Kingswell Jazz Bandits and later formed Ted Woods River Boys and youngest Ronnie Woods now of Rolling Stones fame. I was just browsing past contacts starting with Barry Kerswell and up came the names Jim Willis, Gerry Waite, Mike Waldron and many others, Ray Smith - piano, Eddie Harper - piano, Lenny Hastings - sax, Brian Sidaway - clarinet, Mike Messenger - Sousa, Reg Squires - double bass, Pat Halcox - trumpet etc etc. (I also worked with Bert Fawkes, father of Wally Fawkes) I was known as 'Pete the Jiving barman' from The Viaduct Inn, Hanwell, west London and used to follow the jazz scene including Steve Lane at the Norfolk Arms, Wembley as well as many other jazz club venues at that time. Countless tales but sadly I am not a musician.
Sandy Brown Photograph
David Binns, Sandy's partner at Sandy Brown Associates, writes: On the page about Sandy (click here), it says: “David (Keen) noticed a photograph on the wall of the channel ferry. 'I did a double take 'cos I was pretty sure it was Sandy (Brown) - if you look closely you can see a copy of (his book) The McJazz Manuscripts in his hands - the question is, who's in the picture with him and why is it on the wall of, I assume, the dining room on the Ferry?”
You will see with the photograph that we think the other person in the photograph could be Alan Cooper ('Coops') of the Temperence Seven, but David Binns says: 'Sandy is on the right but the book cannot be The McJazz Manuscripts as this was published after Sandy died.'
La La Land
Last month I wrote about my disappointment with the movie La La Land (click here) . Since then, I have seen it again and although the friends I went with really enjoyed it, my disappointed remained unchanged. Since then, it film has won Oscars for Best Leading Actress and Best Director, although it did not win the Oscar for Best Picture, that went to Moonlight, in my opinion a better film. However, I applaud Director Damien Chazelle who once again has brought some jazz to the silver screen and I hope it will inspire him to make other movies like his excellent Whiplash.
Mike Rose wrote in response to my comments last month: 'I was spurred on by ‘What Did You Think Of La La Land?’. I too am always suspicious about rave reviews and was very upset by the news that ‘jazz is dying’. A reviewer in the Observer picked-up the line and repeated it with some negative force. She also made a second error regarding Myrna Loy and I spent a few days fuming and intending to write and read her fortune. Apathy finally got the better of me and I didn’t bother.' (Rex Reed wrote: 'The dialogue gains sparkle when he goes ecstatic about keeping the dying art of jazz alive in the style of his idols, Louis and Bird and Monk and Miles, and the instrumental passages, where he simulates playing jazz riffs with the drive and swing of Bill Evans, are downright thrilling.' Chazelle is quoted as saying: ... the two "feel like the closest thing that we have right now to an old Hollywood couple," akin to Spencer Tracy and Katharine Hepburn, Fred Astaire and Ginger Rogers, and Myrna Loy and William Powell.')
'I enjoyed the movie but then as the main influence was The Umbrellas of Cherbourg which is in my top five all-time movies, there’s little wonder. I think the answer to the ravings is that it is a main stream film with stars who are very popular and the studio really got behind its promotion. It’s like so much popular culture. Singers, musicians, artists etc. etc get the full media treatment when you know there are far better examples who the world never hears off. ‘Do you like jazz? Well, I love Kenny G!’'
Facebook and Mailing List
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Putting the Hip into Eyemouth Hippodrome
Rob Adams tells us about Scotland’s newest jazz venue, Eyemouth Hippodrome which has been given funding from Creative Scotland – the Scottish equivalent of the Arts Council of England - to support a season of concerts by Scottish musicians. The former seamen’s mission in the small harbour town in the Scottish Borders is in its second full year as a music venue and has successfully presented jazz musicians from America, Italy and India as well as players from the home scene in an intimate listening environment.
“We were aware when we started up the venue that there was no history of jazz or even of much live music in Eyemouth,” says Paula Tod, an artist originally from Leeds who along with her architect husband, Ian, is developing the Hippodrome as a hub for jazz and roots music and visual art exhibitions. “There used to be a Borders branch of the jazz promoting organisation Platform that operated in Hawick and Melrose but that was a long time ago so we were really starting from scratch as far as building an audience is concerned.”
One of the key aspects of the Hippodrome philosophy is that the music and the musicians come first. In addition to offering a performing space where the audience is there to listen, the Tods take care to look after their performers. Musicians are given dinner before the gig in the couple’s flat above the venue and there’s another flat adjacent to the Hippodrome that can accommodate touring musicians overnight. The Tods’ son is a professional drummer based in Manchester, so they are very well attuned to musicians’ needs. With the help of a friend who has contacts in the jazz world the Tods were able to tap into tours by Italian guitarist Simone Gubbiotti and Berlin-based American pianist Louis Durra. They were also able to attract Konrad Wiszniewski and Euan Stevenson, co-leaders of the Scottish group New Focus, to play a duo gig in Eyemouth, which is about an hour’s drive down the coast from Edinburgh.
“People were amazed that they could see and hear such great musicians up close and personal in a small place like Eyemouth,” says Paula. “There were comments to that effect on social media and it made us think that we were getting something right. We don’t treat the venue as our living room but it does have that kind of feel to it, I suppose, only a bit bigger. It’s comfortable and – we hope – welcoming and audiences respond to that intimacy.”
The Scottish season begins with guitarist Nigel Clark on Saturday, March 11. Currently based in Dublin, Glasgow-born Clark, who was recently on tour with Dutch violinist Tim Kliphuis and has just released an album with Irish singer Colette Cassidy, will present his solo nylon string guitar arrangements of jazz standards alongside classics from Santana and the Beatles. Saxophonist and former Jazzwise magazine One to Watch Brian Molley will appear with his quartet at the Hippodrome on April 29, with Edinburgh collective Playtime and Peter Whittingham Jazz Prize winners Square One following on May 13 and June 3 respectively.
“We have plans beyond that but we’re keeping those to ourselves for the moment,” says Paula Tod. “But we’re certainly keen to bring more jazz and more people to hear it into the Hippodrome.”
Information has arrived about the following musicians or people connected to jazz who have passed through the 'Departure Lounge' since our last update. Click on their names to read their obituaries where we have them:
Svend Asmussen - Danish jazz violinist, one of the first from Scandinavia, who played with Duke Ellington and Benny Goodman. Inspired by Joe Venuti and Stuff Smith, he led a small group in Copenhagen that went on to open for many visiting jazz stars. He recorded with Stéphane Grappelli, Ray Nance, pianist John Lewis and the vibraphonist Lionel Hampton amongst others. He passed through the Departure Lounge in February at the age of 100. Click here to listen to Svend with Duke Ellington playing Don't Get Around Much Anymore.
Al Jarreau - American vocalist born in Milwaukee, Wisconsin. His ability for bebop-derived wordless scat singing reflected his admiration for Jon Hendriks, and he could also mimic the sounds of all manner of instruments. He performed regularly with the pianist George Duke, and also formed a duo with the guitarist Julio Martinez. The pair’s popularity at Gatsby’s club in Sausalito led Jarreau to make music his career in 1968. He moved first to Los Angeles to work at high-profile haunts including Dino’s and the Troubadour, and on his move to New York began to appear on the TV shows of Johnny Carson and David Frost, and to work regularly at the Improv comedy club.
He made a number of recordings and in the '90s focussed his work on the recording studio – winning another Grammy for the R&B-oriented Heaven and Earth (1992), and enlisting a cast of jazz stars including the saxophonist David Sanborn under the direction of the producer/bassist Marcus Miller for Tenderness (1994). Click here for an amazing video of Al Jarreau vocalising Take Five in 1976.
Larry Coryell - American guitarist born in Galveston, Texas. Remembered for his work on the fusion of rock and jazz. He worked with Gary Burton, Charles Mingus, Sonny Rollins as well as leading and recording with his own band. In 1972 he formed the Eleventh House, a fusion band that included drummer Alphonse Mouzon and that 'emphasized complex, thunderous compositions and flashy, rapid-fire solos'.
Click here for a video of Larry Coryell with John McLaughlin and Paco De Lucía - Meeting of the Spirits.
David Axelrod - American producer, arranger and composer who mixed jazz and soul music, working with Harold Land on the 1960 album The Fox, seen as an outstanding example of hard bop. He joined the staff of Capitol Records as an executive, focused on developing talent and helped to create what he said was the first black music division at a major label. He also worked with the saxophonist Cannonball Adderley, who was familiar with Mr. Axelrod from The Fox. He produced Adderley’s biggest hit, Mercy, Mercy, Mercy, in 1966, and continued to work with him for a decade.
Barbara Carroll - American pianist and singer born in in Worcester, Massachusetts. Sometimes called 'the first lady of jazz piano' she performed regularly at Birdland in Manhattan. 'When she moved to New York in 1947, a friend arranged her first booking under the name Bobbie Carroll, never mentioning her gender until it was too late to get anyone else.' A friend of Tony Bennett, she was a major interpreter of the songs of Cole Porter, Cy Coleman and Carolyn Leigh, and Stephen Sondheim. Click here for a video of Barbara accepting the 2003 MAC Lifetime Achievement Award and playing/singing One Morning in May by Hoagy Carmichael and Mitchell Parish.
Not all jazz musicians who pass through the Departure Lounge are reported in the national press, so if you know of anyone's passing that we should mention, please contact us with a few words about them, or a local obituary if one is available.
Oxfordshire's 7th Annual Charity Jazz Concert
Sunday, 5th March 2017 - The Exeter Hall, Kidlington, Oxfordshire. - Doors 7.00 pm for 7.30 start.
Clarinettist Alvin Roy tells how these Jazz Concerts all began:
I suppose it all started in 1995. I had travelled down from London for a day’s fishing at an Oxfordshire lake and whilst driving home, I suffered a heart attack but managed to continue driving and got myself to the John Radcliffe Hospital and as I got out of my car, I went into cardiac arrest. The hospital saved my life and when I returned to London, I decided to organise a charity fishing competition and also a jazz concert at London’s famous 100 club, on behalf of the British Heart Foundation.
I moved to Oxfordshire in 2000 and when a local jazz trumpeter died in 2010, the family requested donations to the "Friends of the John Radcliffe Hospital". At the time, my band, "Reeds Unlimited", were playing a regular Sunday night at the, now defunct, Lord Nuffield club and I organised a special jazz evening which raised money for the hospital. The following year, I was approached by a jazz fan whose son had died of Crohn’s disease and he asked me to help him put on a concert at the Exeter Hall in Kidlington to raise money for the charity. I contacted many of the musicians I knew and they all readily agreed to take part in the event, which meant that I had several guitar players, pianists, drummers, bass players and front line instrumentalists, all of whom wanted to play on the night. So I came up with the idea of putting certain musicians together to form a band, giving them a name and letting them "jam" together. Jazz is one form of music that can be created by musicians playing together with little or no rehearsal and as they all were very good players, I knew this method would work. In the end, I ended up with four bands formed from the pool of musicians. “Guitar Summit” was one band that started this way and who have since gone on to play many gigs in Oxfordshire.
After the concert, all the musicians told me how much they’d enjoyed the evening and as they’d all given their services for free, this was extremely gratifying and heart warming. Their enthusiasm persuaded me to agree to arrange another charity concert at the same venue the following year and as I had become chairman of the Oxfordshire Jazz Federation, I continued to organise the subsequent concerts through their auspices. Some of the charities to benefit from this annual event are the British Heart Foundation, the Sobell Centre, Multiple Sclerosis and Parkinson’s Disease.
This year’s concert is the 7th to be held and is on behalf of the Motor Neurone Disease Association. The doors open to the public at 7 pm with the concert starting at 7.30 pm. Tickets on the door are £8, which is ridiculously cheap considering the quality and high standard of the musicians who are taking part. This year we’re featuring “Big Colors” (that’s how they spell their name) which is Oxfordshire’s premier big band, comprising the best players in the County and led by David Shiers. The second band appearing is the “Soprano Summit Legacy Band” which has been put together by me as a tribute to the famous American band and who’ll also be appearing in concert on March 17th at the Cornerstone Arts Centre in Didcot.
I’m grateful to David Carugo and his students from Brookes University, who each year, have provided the lighting and sound for all the concerts and I trust that this year’s event will be as successful as the previous ones. I hope and expect a full house on the night, which has a twofold effect: more money for the chosen charity and an appreciative audience for the musicians who, as they are all playing for nothing, deserve some accolade for their performance.
Bright Sparks Shine Spotlight On Local Talent
Some UK Jazz Venues
It is impossible for me to include a list of all the gigs taking place during a month. I have decided to take an approach where I will list venues geographically and give you their website links so you can check what is going on in a particular area. If you would like me to include links to other venue listings, please let me know.
Dublin: JJ Smyth's, 2, Aungier Street, Dublin 2. www.jjsmyths.com
Dublin: Sugar Club, 8, Lower Leeson Street, Dublin 2. www.thesugarclub.com
Dublin: National Concert Hall, Dublin 2. www.nch.ie
Dublin: Flanagan's (Basement) Piano Bar, 61 Upper O'Connell Street, Dublin 1. www.flanagansdublin.com
Dublin: Whelan's, Wexford Street, Dublin 2. www.whelanslive.com.
Wicklow: The Hot Spot Music Club, Harbour Lodge, Bayswater Terrace, Cliff Rd, Greystones, Co. Wicklow. www.thehotspot.ie
Scotland: The Blue Lamp, Aberdeen, 121 Gallowgate, Aberdeen, AB25 1BU. www.thejazzbar.co.uk
Wales: Dempsey's, Cardiff, 15, Castle Street, Cardiff, CF10 1BS. www.jazzatdempseys.org.uk
Newcastle-upon-Tyne: The Jazz Cafe, 25 - 27 Pink Lane, Newcastle-upon-Tyne, NE1 5DW. www.jazzcafe-newcastle.co.uk
Cumbria: Kendal Jazz Club, The River Bar, Hawkshead Brewery, Stavely Mill Yard, Back Lane, Kendal, Cumbria, LA8 9LR. www.kendaljazzclub.co.uk.
Lancashire: Ribble Valley Jazz and Blues Club, The Grand Theatre, 18 York St. Clitheroe, Lancashire, BB7 2DL. www.rvjazzandblues.co.uk
Liverpool: The Capstone Theatre, Shaw Street, Liverpool, L6 1HP. www.thecapstonetheatre.com
Yorkshire: Seven Jazz, Leeds, Seven Arts, Chapel Allerton, Leeds, or Inkwell Arts, 31 Potternewton Lane Chapel Allerton, Leeds. www.sevenjazz.co.uk
Yorkshire: Wakefield Jazz, Wakefield (College Grove) Sports Club, Eastmoor Road, Wakefield, WF1 3RR. www.wakefieldjazz.org
Yorkshire: Jazz In The Spa, Boston Spa, Village Hall, High Street, Boston Spa. www.jazzinthespa.co.uk
South Yorkshire: Sheffield Jazz, Various venues in Sheffield. www.sheffieldjazz.org.uk
Manchester: Matt and Phred's, 64 Tib Street, Northern Quarter, Manchester M4 1LW. www.mattandphreds.com
East Staffordshire: Jazz On Tap, The Worthington Room, The National Brewery Centre, Horninglow Street, Burton upon Trent, DE14 1NG www.jazzontap.wordpress.com
Birmingham: Birmingham Jazz Listings www.jazzinbirmingham.co.uk
Hertfordshire: Herts Jazz Club, Welwyn Garden City, Screen2, Hawthorne Theatre, The Campus, Welwyn Garden City, AL8 6BX. www.hertsjazz.co.uk
Essex: The Electric Palace, Harwich, King's Quay. Harwich. www.electricpalace.com
Essex: North Weald, North Weald Village Hall, CM16 6BU Essex
Buckinghamshire: Amersham Jazz Club, Beaconsfield SYCOB FC HP9 2SE. www.amershamjazzclub.co.uk
Oxford: The Oxford Wine Cafe, 38 South Parade, Summertown, Oxford OX2 7JN www.oxfordwinecafe.co.uk/jazz/
Oxford: The White Hart, 162 Cowley Road, Oxford, OX4 1UE
Oxford: James Street Tavern, 47-48 James St, Oxford OX4 1EU.
Oxfordshire: Witney Jazz, Burwell Hall, Thorney Leys, Witney OX28 5NP. www.witneyjazz.co.uk
Oxfordshire: Newbridge, Rose Revived, Newbridge, Witney, Oxfordshire, OX29 7QD. Mondays from 3rd April 2017 - Alvin Roy's Reeds Unlimited. Free entry. 7.30 to 10.00 pm.
Jazz London Live has become the key reference place for who is playing where in the London area - click here, and you can download their app to your phone etc. from a page on their website.
London: Jazz London Live, Listings website for London and South East. www.jazzinlondon.live
London: King's Place, 90 York Way, London, N1 9AG. www.kingsplace.co.uk
London: LUME, www.lumemusic.co.uk
London: Pizza Express, Soho, 10, Dean Street, London W1. www.pizzaexpresslive.com
London: The Spice Of Life, Soho, 6, Moor Street, London W1. www.spicejazz.co.uk
London: Ronnie Scott's Club, Soho, 47 Frith Street, London W1. www.ronniescotts.co.uk
London: The 100 Club, 100 Oxford Street, London W1D 1LL. www.the100club.co.uk (The 100 Club only occasionally stages jazz gigs these days)
London: The Green Note, Camden, 106 Parkway, Camden, London NW1 7AN. www.greennote.co.uk
London: The Forge, Camden, 3-7 Delancey Street, Camden, London NW1 7NL. www.theforgevenue.org
London: Chickenshed Theatre Jazz Bar, Southgate, Chase Side, Southgate, London N14 4PE. www.chickenshed.org.uk
London: The Vortex, 11, Gillett Street, N16 8AZ. www.vortexjazz.co.uk
London: Club Inégales, 180 North Gower Street (corner of Euston Street). www.clubinegales.com
London: Jazz In The Round, The Cockpit, Marylebone, Gateforth Street, Marylebone, London NW8 8EH. www.thecockpit.org.uk
London: Omnibus, Old Clapham Library, 1 Clapham Common Northside, London, SW4 0QW. www.omnibus-clapham.org
London: 606 Club, 90 Lots Road, Chelsea, London SW10 0QD. www.606club.co.uk
London: The Bull's Head, Barnes, 373 Lonsdale Road, Barnes, London, SW13 9PY. www.thebullshead.com
London: Putney, The Half Moon, Putney , 93 Lower Richmond Road, Putney, SW15 1EU.
London: The Hideaway, Streatham, 25 Streatham High Rd, London SW16 6EN. www.hideawaylive.co.uk
London: e17 Jazz, Walthamstow, Gnome House, 7 Blackhorse Lane, Walthamstow, E17 6DS. www.e17jazz.com
London: The Jazz Nursery, St Mary Overies Dock, Cathedral Street, London SE1. www.jazznursery.com
Surrey: Thames Ditton, The George and Dragon, High Street, Thames Ditton, KT7 0RY.
Surrey: Guildford Jazz, 2 venues - Guildford and Godalming Rugby Club, Guildford Road, Godalming GU7 3DH (second Wednesday in month); Guildford Electric Theatre, Onslow Street. Guildford GU1 4SZ (Tuesday nights). www.guildfordjazz.wordpress.com
Surrey: Watermill Jazz, Dorking, Betchworth Park Golf Club, Reigate Road, Dorking RH4 1NZ. www.watermilljazz.co.uk
Surrey: The Grey Horse, Kingston-Upon-Thames, 46 Richmond Road, Kingston-Upon-Thames, KT2 5EE. www.grey-horse.co.uk
Surrey: The Barley Mow, Shepperton, 67 Watersplash Road, Shepperton, TW17 0EE. www.themow.co.uk
Kent: The Roffen, New Road Rochester, ME1 1DX. www.144club.co.uk
Sussex: Splash Point Jazz Club, Seaford, Splash Point Jazz Club Seaford at The View, Seaford Head Golf Club, Southdown Road, Seaford. www.splashpointmusic.com
Sussex: Brighton Jazz Club, www.brightonjazzclub.co.uk
Sussex: Splash Point Jazz Club, Brighton Marina, Splash Point Jazz Club at The Master Mariner, Inner Lagoon, Brighton Marina. www.splashpointmusic.com
Sussex: Chichester Jazz Club, Pallant Suite, 7 South Pallant, Chichester, PO19 1SY. www.chichesterjazzclub.co.uk
Gloucestershire: Cirencester, Kings Head Hotel, 24 Market Place, Cirencester GL7 2NR. www.kingshead-hotel.co.uk
Bath: Widcombe Social Club, Widcombe Hill, Bath, BA2 6AA
Bristol: The Be-Bop Club, The Bear, Hotwell Road, Bristol, BS8 4SF. www.thebebopclub.co.uk
Somerset: Ilminster Arts Centre, The Meeting House, East Street, Ilminster, Somerset, TA19 0AN. www.themeetinghouse.org,uk
Dorset: Blandford Forum, The King's Arms, Whitecliff Mill St, Blandford Forum DT11 7BE. Facebook
Dorset: Bridport Arts Centre, South Street, Bridport, DT6 3NR. www.bridport-arts.com
Dorset: Sound Cellar, Poole, The Blue Boar, 29 Market Close, Poole, Dorset, BH15 1NE, www.soundcellar.moonfruit.com
Cornwall: St. Ives Jazz Club, Western Hotel, Gabriel Street, St. Ives, Cornwall, TR26 2LU. www.stivesjazzclub.com
Dr Bob Moore has contacted us saying:'I am a member of the U3A (University of the Third Age) Jazz appreciation section. I now have given four talks to them on each of the following: Louis Armstrong, US swing bands of the 40's, Modern Jazz Quartet and Stan Kenton. I should say that I am not a profession speaker but I have reasonable knowledge of the subject. Now that I have given the talks, it is most probable that they will gather dust in a cupboard but if anyone local to me in High Wycombe is interested, I would be prepared to repeat the talk for free with possible expenses for petrol if far away.'' The talks mainly simply require a good audio system plus someone to put on the CD's but the Kenton talk does included some excerpts from Youtube on the internet but these could be edited out. If I use the Internet it would require screen plus associated equipment. The talks take about 90 min and the usual format is general background on the artist or group followed by tracks from CD's.'If anyone would like to take up Bob's offer, you can email him at firstname.lastname@example.org
Similarly, Roy Headland who gives occasional talks to Norwich Jazz and Blues Record Club is offering to give talks with music to other groups in the Norwich area. A recent talk 'A Jazz Tour of Norwich and Norfolk' to an audience of 60 had the organiser saying: "Thank you for giving us such an informative and enjoyable evening,full of musical stars.The feedback was good and we hope to see you back with part 2." Other talks Roy has given include: Condon Jam Sessions; Clarinet Kings of Swing; Tommy Ladnier -"Mandeville to New York "; and a talk to Rotary on "The Winter Solstice" (their request) on Dec 21st which I managed to link in with Artie Shaw and called "The Shawtest Day"!
Roy's email address is: email@example.com.
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© Sandy Brown Jazz 2017