Album review: Burgamy-Hancock New Originators (Turtle Bay Records)

Colin Hancock (cornet); Hunter Burgamy (banjo, vocals); Robin Rapuzzi (drums); Tom Saunders (tuba, bass sax); Kris Tokarski/Joplin Parnell (piano); Dennis Lichtman (tenor sax, clarinet); Charlie Halloran, Jens Lindgren (trombone); James Evans (clarinet, c-melody sax); Jonathan Greene (clarinet)

Hot on the heels of the past weekend's Classic Jazz Party comes an album co-led by one of the big hitters from the party - cornetist Colin Hancock. It's a gem of its kind  and, in many ways, typifies the ambiance of the CJP. 

The chosen compositions are, in the main, blues, rags and stomps from jazz's early years referencing bands such as those led by King Oliver, Jelly Roll Morton, the New Orleans Rhythm Kings and more. Inspired by, without slavishly copying them, the nine piece ensemble present their own versions of  the music of New Orleans. In that respect the Burgamy-Hancock New Originators are well-named so roll back the carpet and get ready to do some struttin'.

Jazz on the Tyne Presents New Music for November 2026

For the 150^th edition of the podcast, presenter Colin Muirhead highlights some upcoming gigs in the North East and showcases new music by Matt Carmichael, the Lorne Lofsky-Nigel Price Quartet, Eleonora Kouneni, Leo Anaga, Matthias Schwengler, Christine Tobin, Look Left, Martin Fabricius, Yosef Gutman, and Édouard Ferlet.

You can listen to the show anytime HERE.

Plus, you can request music for future programmes, pass on news or leave feedback by emailing Colin at jazz.tyne.hive@gmail.com or by heading to www.jazzonthetyne.org.

Album review: Joshua Redman - If Ever You Should Leave Us (Blue Note)

Joshua Redman (tenor sax); Larry Grenadier/Christian McBride (bass); Marcus Gilmore (drums); Kevin Hays (piano tks 6, 7); Peter Bernstein (guitar tks 9, 10); Chris Potter (tenor sax tk 7); Cécile McLorin Salvant (vocal tk 5); Gabrielle Cavassa (vocal tk 10)

A short (1.15 min.) unaccompanied There Will Never be Another You opens up Redman's tribute to his first inspirational hero - Sonny Rollins. Short and bitter sweet the love oozes unchecked from Redman's tenor. He's joined by McBride for a duo recording of Rollins' Doxy. The bassist too unloads his emotion whilst Redman picks up on Sonny's sense of humour with a quirky phrase. 

The duo becomes a trio -  the classic Rollins' line-up - with the arrival of Gilmore on The Last Time I Saw Paris. No changes for another of Sonny's much loved compositions - Pent-up House. Redman swoops and soars like a bird of prey his fingers doing the walking his heart the talking with Gilmore and McBride spurring him on to that famous penthouse.

RADIOPHONICX presents voices from East Europe on the 21st of November at Cobalt studios

RADIOPHONICX

Interference - waves of conflict

21st November 2-4pm at Cobalt Studios, 10-16 Boyd Street, Newcastle NE2 1AP

Two audio pieces from Slovenia and Czeck Republic will give us a unique opportunity to connect with artistic voices from East Europe. 

Mother of God, banish Putin by Jiří Adámek Austerlitz is a multiple award winning audio drama about the Pussy Riot attempt to sing a protest song in the Cathedral of Moscow. It combines a highly political theme with a mesmerising musical score.

Late Night Chicago Radio with Denny Farrell (Nov. 5 - 11)

Paul Desmond/Jim Hall: You'd be so Nice to Come Home to.

Johnny Hartman: I Thought About You.

Horace Silver: Doodlin'.

Clifford Brown/Max Roach: ? .

Larry Branchetti:Fly me to the Moon.

Oscar Peterson: You Look Good to me.

Maynard Ferguson: Autumn Leaves.

Ella Fitzgerald: Love For Sale.

Andy Brown: Memories of You.

Gerry Mulligan: Boplicity. (For Lance & Bebop Spoken Here in England!)

Sam Cooke: Laughin' and Clowin'. 

LISTEN 24/7.

Sunday Night @ the Globe: Greg Abate w. the Dean Stockdale Trio - Nov. 8

© Sheila

Greg Abate (alto sax, flute); Dean Stockdale (piano); Mick Shoulder (bass); Abbie Finn (drums)

As he did on his previous visit to the Globe,  Greg got things off to a flying start with Yardbird Suite. What a sound! The best alto sound I've heard since ... well, er, since the last time Greg was in town. The crowded room concurred. Spurred on by the 5-star rhythm section he soared through the changes. Dean, Mick and Abbie too were at the top of their game. Close your eyes and you were uptown at Minton's. Who's that who just walked in? It's Bud Powell "Hi Bud".

© Sylvia

As he did on his previous visit to the Globe, Greg followed with Lee Morgan's Ceora. A delicate Latin tinged number evocatively played but, I thought, is this going to be an evening of deja vu? It wasn't. The chops warmed up, last year's programme was shelved - at least for the time being. 

The flute came in to play on John Lewis' Afternoon in Paris. Another great sound and more super solos all round.

Album review: Down for the Count Swing Orchestra - Count Down to Christmas (Down for the Count Records)

Mike Paul-Smith (MD): Lydia Bell, Katie Birtill, Hannah Castleman, Callum Gillies, Marvin Muoneké (vocals); Alex Howgego (piano); James Owston (bass); Tom Fleming (guitar); James Smith (drums); Ben Burton, Jordan Murray (perc.); Catrin Meek (harp); Tim Rabbit, Simon Joyner, Max Fagindini (trumpet/flugel); Joe Fenning, Ed Parr (trombone); Simon Chorley (bass trombone); Mina Middleton (flutes, piccolo); Lewis Sallows (alto sax, clarinet, flute); Chris Adsett (tenor sax, clarinet, flute); Kyran Matthews (tenor sax, clarinet); Jamie Basura-Hone (baritone sax, bass clarinet); Alex Clarke (alto/baritone sax, clarinet, bass clarinet) + 13 violins, 3 violas, 3 cellos).

My apologies for failing to namecheck the strings but I was running out of space. They did a grand job and were very much an integral part of the album - maybe the most important part!

So here it is merry Christmas - well it will be in a few weeks time - and what better way to spend the 'season of good will' than by roasting your chestnuts on an open fire and listening to a swing orchestra playing and singing your favourite songs? They're all here either in medley form or sung by a classy team of singers.

Jazz Time Aycliffe Radio - Sundays 6.30 - 8.00pm (Repeat Tuesdays 8.00 - 9.30pm.)

https://www.ayclifferadio.co.uk/listen

Playlist 08/11/26. (Repeated Tuesday 11/11/26)

 

Remembrance: Benny Goodman Orchestra with Peggy Lee, The Andrews Sisters, Glenn Miller & His Orchestra.

Requests: Morten Gunnar Larsen, Herbie Hancock, Steve Fidyk,

Memories: Gregory Porter, Mezzrow-Ladnier Quintet.

What’s on in the NE: Muggsy Spanier & Sidney Bechet, Giles Strong Quartet, Birkett & Fisk.

Peace : Chet Baker, McCoy Tyner, Norah Jones, Oscar Peterson/Joe Pass, Tim Boniface, Wynton Marsalis & Eric Clapton.

Aycliffe Radio is now available on DAB in County Durham & the Darlington Area and via your smart speaker. 

Album Review: Miles Pillinger – Belonging (Miles Pillinger Music)

Miles Pillinger (drums); Olivia Cuttill (trumpet); Tom Harris (piano); Benjy Sandler (tenor, alto and soprano saxophones, flute); Josh Vadiveloo (double bass); + Thandanani Gumede (vocals); Emma Marsh (percussion); Helen Pillinger (tenor saxophone)

As Mr Marsalis found out, you name your son Wynton after the piano player and he plays the trumpet, so it is that the Pillinger’s named their son Miles and he plays the drums*. However, leaving nominative determinism to one side, this Miles has produced a fine album which ‘swings’ across genres but manages to still create a coherent identity. High stepping beats from South Africa and Brazil meet up with some horn led urban blues and some freer expressive moments with different elements sometimes cropping up in the same piece.

Fergus McCreadie: Flight Pass @ The Glasshouse, Gateshead - November 5

Fergus McCreadie (piano); Tristan Gurney (violin); Juliette Lemoine (cello)

Not really sure what to expect with this one. The Glasshouse website talks of a co-commission with Chamber Music Scotland which means strings. Thankfully, no mention of banjos. Fergus explains that, for those of us who have seen him before, (that was most of us there, but I was sat next to a newbie) “It was going to be very different indeed.” There would be some jazz, some duets with strings and then the second set……

He opened with Gershwin’s Embraceable You, delicate, elegant and spare, the melodies wrapped in a swathe of notes, lush and lovely. His excursions became more extensive and dramatic, rhythmic play creating quickly dissolved tensions before he dances away again, balletic and fresh as spring. A second piece was equally rich and dense, with a strong rhythmic, dancing pulse and interwoven variations from it, a rolling wave of notes, relentless and passionate.