John Wadham (drums); Brian
Dunning (flute); Frank Hess (bass); Louis Stewart (guitar); Martin Walsh (bass).
As followers of the jazz scene in Dublin in the late 1960s and ‘70s, my friends and I knew we were hearing some great music and great musicians. It had long been clear that Louis Stewart was a world class guitarist but there were also many other fine musicians who could hold their own in top company - Jim Doherty and Noel Kelehan (piano), Brian Dunning (flute), Keith Donald (saxes), Mike Nolan (trumpet), Martin Walsh and Frank Hess (bass) - and then there was John Wadham, drummer par excellence.
Wadham played with all the above musicians and many more and was equally adept playing with traditional and mainstream bands as he was with bop and post-bop groups. We saw him in many different contexts from pub basements to concert halls and in groups from trios to big bands and to each he brought what the original album sleeve notes rightly describe as a ‘rare combination of technical accomplishment, impeccable taste and flawless time’. Universally known as ‘The Wad’ to musicians and fans alike, the use of the definite article indicates the respect in which he was held as a drummer.
He had a striking appearance with fine mutton chop whiskers, stylish clothes and generally occupied the drummer’s seat with a pipe clenched in his mouth. He also had an impish sense of humour, no doubt derived from his love of the Goons. On one occasion the wonderfully eccentric but highly knowledgeable jazz critic of the Irish Times, George Hodnett, reviewing one gig in the 1970s described his drumming as having ‘the precision of a chronometer and the vitality of saturation bombing’. I happened to be at the next gig Wadham played and as the band members were being introduced to the audience, ‘The Wad’ lifted up his drum sticks and with a sly grin on his face said, ‘Look, I’m a saturation bomber!’ and launched a furious, but perfectly timed assault on his drum kit.
This latest recording from the original tapes made by the founder of Livia Records, Gerald Davis, has again been beautifully restored and re-mastered under the auspices of Dermot Rogers who has revived the Livia label. As this is the only recording Wadham made under his own name it is great to have it available again. The tracks on this recording amply demonstrate the range of Wadham’s ability and the variety and sensitivity of his playing.
Four tracks feature a trio of Wadham on drums, Brian Dunning on flute and Frank Hess on bass.
The
absence of a piano or guitar leaves plenty of space for the three to improvise
together and create some intriguing soundscapes. The opening track, Clarence’s
Place, has Dunning laying down the tune and soloing freely and the quality
of the recording means Wadham’s delightfully delicate touches underneath the
flute can all be heard clearly. Dunning's impressionistic opening to Niewood’s Floating
does create an image of drifting down a river with sounds of birds and
other animals in the background. Frank Hess on bass joins in the
improvisational feel with the drums adding to an exotic atmosphere. The bass
opens the third track Winter Song with Wadham’s work on the cymbals
driving the track along at a swinging pace and the flute joining in to create a
very nice feel over the top. Dunning gives Bobby Hutcherson’s Pompeiian an
almost classical feel which is not surprising as he often played as a flautist with
the RTE Symphony Orchestra. Again Wadham has no difficulty finding a suitable
accompaniment to this, creating a rather beautiful sound.
There is a fifth (bonus) track on the CD which was not on the original recording although it was recorded at the same time, the Miles Davis tune Seven Steps to Heaven. This is a very nicely played, up tempo piece for the three musicians to show their musical chops.
Two of the most unusual and interesting tracks are duo pieces with Wadham and Louis Stewart. The first, Improvisation for Guitar and Drums, is apparently exactly that; a spontaneous free form piece created in the moment. It is definitely not something we would have heard at a pub basement jazz gig. At 9:21 it is the longest piece on the album giving both musicians plenty of time and space to demonstrate their instinctive collaborative abilities.
The second duo piece, Lazy Afternoon, taken at a lovely slow tempo has both musicians demonstrating a variety of different sounds. Wadham’s tinkling bells are matched by Stewart’s run of harmonics.
The last two tracks on the album are with Wadham as part of the Louis Stewart trio when Stewart recorded his first album, ‘Louis the First,’ with Martin Walsh on bass. Both Footprints and Naima were recorded at the original sessions but did not make the final vinyl album due to space limitations. Footprints has an extended improvisational intro with Wadham showing off his full range of sound-making equipment. I seem to remember he would use a mini version of tubular bells, as well as a ridged piece of wood which he ran his drum stick along to create various sounds. Stewart then launches into the tune with his usual fast attack and Wadham has no problem matching it. Walsh on bass is fully involved.
The last track, Coltrane’s Naima, is well worth having available on CD. Another excellent trio recording.
John Wadham was certainly recognised as a great drummer in his own adopted land and for many years, J J Smyth’s in Dublin, a leading jazz and blues venue had a bronze bust of ‘The Wad’ on display. With the release of this album it is now possible for a wider audience to enjoy one of Ireland’s great jazz musicians. JC
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