Book Review: Joseph Jarman - Black Case Volume I & II: Return from Exile

(Review by Russell)

Joseph Jarman first compiled a spiral-bound version of Black Case Volume I & II in 1974. Three years later an expanded edition was published by Art Ensemble of Chicago Publishing Co.. Now, some twelve months after the death of the Art Ensemble of Chicago's saxophonist, composer, poet and member of the AACM, a reprint, with a new preface by Thulani Davis and an introduction by Brent Hayes Edwards, has been made available by Blank Forms Editions and After : Still.   

Poetry, prose and photographs from 1960 through to the mid-seventies chart Jarman's global travels and development as an artist. Principally known as a member of the feted Art Ensemble of Chicago, Black Case Volume I & II is a welcome addition to the literature of the Black Arts Movement. Multi-instrumentalist Jarman offers an insight to his childhood years on Chicago's South Side; racism, urban alienation and fishing trips with his father.  

EP Review: Ellen Edwards – A New York Session

Ellen Edwards (vocals); Randy Brecker (trumpet track 2); Robbie Kondor (piano); Will Lee (bass); Jeff Mironov (guitar); Gene Lake (drums); Richie Morales (percussion); Jason Miles (B3, vibes, synthesizers).

(Review by Ann Alex)

I played this EP with some trepidation as the 5 tracks are all original songs, so there is the problem of not being familiar with the material which means that it is difficult to judge fairly after one play through. I read all the lyrics in the insert and they seemed sort of ok, but once I heard those lyrics sung, accompanied by, I quote, 'top New York studio and jazz musicians' I was hooked, the songs came alive.

More Burns Night Jazz

(Preview by Lance)

It seems as though, officially, Burnsy's Night is on Saturday January 18. A night when, traditionally, tam o' shanters will be worn, haggis will be consumed and vast quantities of Scotch will be downed. Kilts will be de rigeur and, when things go awry, cabers will be thrown.

However, we jazzanachs celebrate it differently. We move it on a day to January 19 and, instead of the infernal bagpipes we have saxophones and other more civilised instruments.

Down at Middlebrough Town Hall, on Sunday afternoon some of Scotland's finest will storm the battlements of that august emporium and they will surely be given the freedom of the 'boro or at least a plate of haggis and chips.

Full details of this Jock jamboree can be found in an earlier post and all for £15 (booking fee and haggis not included).

New Century Ragtime Orchestra News.

(Press release)

Advance notice that our annual concert at Gateshead's Caedmon Hall is on Saturday 29 February at 7.30 pm, once again featuring Keith Nichols on piano, Nick Ward on drums, Caroline on vocals and presented by Steve Andrews (reeds).

Tyneside’s premier exponents of ragtime, hot dance music and classic jazz return to the Caedmon Hall for their annual concert, assisted by Mr Keith Nichols, master of ragtime and stride piano styles. Over the past 20 years, New Century Ragtime Orchestra has developed a reputation for musical authenticity and presentational mayhem from larger-than-life reed man and local hero, Steve Andrews. If you like ragtime, 1920s jazz and 1930s swing, this is a night not to miss!

Renowned Scottish Jazz Artists to Celebrate Burns Night with Special Concert at Middlesbrough Town Hall

(Press release)

Ahead of Burns Night, Middlesbrough Town Hall is kicking off 2020 with an afternoon of live music, celebrating the unique energy of Scotland’s vibrant jazz scene.

Taking place on Sunday 19th January, some of Glasgow’s finest jazz musicians are set to perform in The Crypt within the historical Middlesbrough Town Hall. 

As part of a successful series of monthly Sunday afternoon Jazz concerts, this Burns Night celebration will be headlined by Tom Bancroft’s ‘In Common’, a musical project fusing the common elements of jazz, electronica, Scottish folk and Indian classical music to create a unique sound centred around drones, grooves and improvisation.

Support comes from BBC Introducing’s ‘One to Watch’, Georgia Cecile; winner of The Young Scottish Jazz Musician of the Year, Joe Williamson, and Scottish Jazz Award winners, the Fergus McCreadie Trio. 

Preview: Tom Rainey Trio @ The Bridge Hotel, Newcastle – Jan. 22

Tom Rainey (Drums); Mary Halvorson (Guitar); Ingrid Laubrock (Saxophone)

(Press release/Photography by PETRA CVELBAR - www.petracvelbar.com)

While Rainey's evocative, time-morphing and occasionally implosive drumming plays a central role in the musical materiality here, his trio is very much an integrated ensemble. The commanding component parts are critical to the vibe and behavioural manner and conversational whole.

Laubrock is a saxophonist of unusual textural sensitivity and intellectual savvy, who can summon up proper deposits of abandon, knowing restraint and sly references to jazz' past in the midst of her purely improvisational explorations.

Halvorson, one of the important "avant-jazz" guitarists of her generation, takes the abstracting and deconstructionist influence of musicians like Derek Bailey into account, but has come up with her own way of melding that free-styling painterliness with shards of line and sonics including tasteful deployment of effects units, a well-placed vibrato effect, ring modulation or distortion blast adding to the range and contemporary relevance of what she does... together they make a refreshing and new kind of beautiful music.

Just Friends @ Dormans Jazz Club, Middlesbrough - January 9

Ian Bosworth (guitar); Josh Bentham (tenor/alto saxes); Alan Smith (bass); Dave Archbold (keys); Mark Hawkins (drums).

(Review by Ron H)

A pleasing start to the first Jazz night of the new year  was made by the guest band Just Friends led by Ian Bosworth playing popular standards to a good sized audience.

Stanley Turrentine's Sugar showed the attentive listeners that this was a tight band with great soloists.

After Out Of Nowhere, a favourite ballad of mine, Since I Fell For You had a relaxed feel and included a nice guitar solo from Ian.

Tyneside Talent

(Report by Russell) 

Today's edition (Sunday January 12) of Jazz Record Requests (Radio 3) featured a fine selection of numbers. From the opening Bei Mir Bist Du Schön (Benny Goodman) to It's About That Time (Bitches Brew-era Miles Davis) Alyn Shipton introduced classic material and lesser known compositions. Oliver Nelson (Stolen Moments) to Andy Sheppard and Espen Eriksen to Oscar Peterson to Johnny Dodds. And, thanks to a Darlington listener, proudly taking its place in the list...Paul Edis' Ushaw Ensemble (A Shepherd from Melrose)! Listen again via JRR's page on the Beeb's website.  

CD Review: Amber Weekes – Pure Imagination

(Review by Ann Alex)

Amber Weekes hails from Los Angeles. Her grandparents lived in Harlem and they ran a cafe which was frequented by the likes of Duke Ellington, Diahann Carroll, and Billy Strayhorn. She sang from being a child and went on to study voice (with no less a legend than Sue Rainey who also joins Amber on the title track) and has performed at many of Los Angeles's top clubs as well as at Caesar's Palace in Las Vegas.

This fine album includes recognised jazz standards alongside songs by Anthony Newley, Barry Manilow, and Paul Simon but I was most delighted to discover songs by a writer who, I’m ashamed to admit, is new to me, Oscar Brown Jr.  Such great songs, why did I not know about these songs years ago?

Debra Milne-Steve Glendinning Trio @ The Globe Jazz Bar - Jan. 11

Debra Milne (vocal); Steve Glendinning (guitar); Mike Clark (bass guitar).

(Review by Lance).

This was a Tale of Two Trios. Two vocalists, two guitarists, two venues within walking distance of each other and, had our local Metro system being operating as efficiently as its Parisian equivalent, I may have managed a set at both - in a perfect world...

Nevertheless, my decision to opt for the Jazz Coop HQ wasn't a one I regretted. Debra Milne has to be given her due, not just for her individual vocal style but also for her songs and lyrics some of which are worthy of GASbook recognition (am I right in thinking that by some genealogical thing Debs is now an American?) Certainly, Don't Come Around Here Anymore is pure AABA - and I don't mean ABBA!