Album review: The New Wonders - Steppin' Out

Mike Davis (cornet, vocals); Ricky Alexander (alto sax, clarinet, vocals); Josh Holcomb (trombone); Jared Engel (banjo); Andy Schumm (piano, cornet); Jay Rattman (bass sax, vocals); Colin Hancock (drums, cornet, vocals)

Sharp suit and pencil moustache, cornet and vocals, it's as if twenty first century Mike Davis has chosen to live in twentieth century Prohibition America. There is little doubt Davis would have been in his element in 'Jazz Age' New York of a century ago. The New Wonders, led by Davis, champion the music of the period. Archivist, historian, performer, Davis is at the forefront of a generation of (young) musicians immersed in the music of the time. Not for them mere pastiche, they're in it for all the right reasons, this is their art. 

Paul Hartley Quartet featuring Jim Collins @ the Railway Stockport - May 14

© Jeff Pritchard

Paul Hartley (guitar); Jim Collins (tenor/alto sax); Ken Marley (bass); Miles Pillinger (drums).

Making a rare appearance at this venue was drummer Miles Pillinger whose high-energy playing fitted in well with the tunes selected particularly the opening number Hank Mobley’s  This I Dig of You which had Jim Collins on tenor sax and blowing up a storm. 

This was the second time that I’ve heard this tune of late, the first being at Mezzrow during their Monday night podcast featuring pianist Alan Broadbent who played a more relaxed version. The second tune tonight was also written by a tenor saxman the great Joe Henderson who I believe composed Recorda-Me when he was 14 years old.  

Album Review: Cyrille Aimée – à Fleur de Peau

Cyrille Aimée's latest album comprises original songs arranged by her in close collaboration with New York multi-instrumentalist Jake Sherman, songs which are personal yet with universal meanings, songs influenced by her Dominican heritage of African dance rhythms and Spanish folksongs and all with elements of contemporary pop music.

Ms Aimée lives in New Orleans. When the pandemic began she moved to Costa Rica where she built a house and with new found confidence, wrote the songs and recorded the album which was based around Ms Aimée's performances with added arrangements. The album is good of its type but not really to my taste, and it just does not have a jazz-like 'feel'.  It's closer to pop music and soul.

Dee Dee Bridgewater & We Exist, @ Cheltenham Town Hall - May 4

Dee Dee Bridgewater (vocals); Carmen Staff (piano) Rosa Runello (bass); Marco Gradini (drums).

Dee Dee Bridgewater announced, shortly after arriving on the stage, that she was going to be doing songs about social concerns because she was angry. It soon became apparent that she was, in fact, VERY ANGRY INDEED. She proceeded to tear the roof off displaying levels of energy unseen since the early days of the Clash. Apparently, she is 73 years old but comported herself with the vigour of someone who still gets asked their age in pubs.

She opened with a Roberta Flack/Donny Hathaway song, Trying Times, which came from that sweet spot where the blues meets soul. Over rock solid drumming and a funky piano excursion Dee Dee’s voice built to a crescendo on the song’s title as she wails out ‘Tryin’ Tiiiimes.’ She swoops and growls, yet her enunciation is clear and each word is served up clearly for examination. A bubbling bass solo leads into a bass and voice call and respond as her gentle scatting leads to a fade.

David William Sanborn (July 30, 1945 – May 12, 2024)

© Flore

The passing of David Sanborn heralded the loss of one of the all-time greats of soul/jazz alto playing. Already the obituaries are sprouting up from wherever he sowed the seeds of his greatness. I'm not going down that road, more erudite writers than me will have already done that so, instead, I'm going to reflect on the three occasions that I saw/heard him live.

Nov. 15, 2011: Queen Elizabeth Hall, South Bank Centre, London. With Joey DeFrancesco on Hammond and Byron Landham on drums this was a mind-blowing set that stood head and shoulders above anything else at that year's London Jazz Festival. REVIEW.

Liam Byrne Quartet @ the Railway, Stockport - May 12

Liam Byrne (tenor/soprano sax); Andy Hulme (guitar); Tom Kincaid (piano); Ed Harrison (bass)

Although this was a drummer-less line up, it didn’t matter as all four musicians are well experienced at playing this sort of gig. When Ed Harrison is on board you know things will swing! I think it’s been quite a while since Tom Kincaid has played at this venue and he decided to use the house upright tonight rather than a keyboard which was a good move as, to me, tenor sax always sounds best when an acoustic piano is used.

The Fergus McCreadie Trio @ the Glasshouse - May 12

Fergus McCreadie (piano); David Bowden (bass); Stephen Henderson (drums)

In my early childhood my parents would take (drag?) me along to concerts by, amongst others, the Hallé Orchestra at the City Hall in Newcastle. To my mother the Hallé were the equivalent of the Beatles and Sir John Barbirolli her 'Elvis'. I was perhaps less enamoured although I did eventually come to appreciate the changes of mood and tempo during the movements of the various symphonies that I learned to love (and sometimes hate!)

The thunderous crescendos, the pastoral calm that followed, the intricacies of the strings sawing away against the stentorian bombast of the brass, the woodwind caught in the crossfire and all underpinned by the clashing of the cymbals and the boiling kettle drums triumphantly telling us that victory was nigh.

Album review: Sam ‘The Man’ Taylor - Sax Supreme. The Singles and Albums Collection. 1949 -1958 (Acrobat)

The rise of the blues-shoutin' saxists in the late 1940s through to the early 1960s offered much to jazz fans who preferred a more ‘vocal’ and guttural message. Ergo, stylists like Louis Jordan, Earl Bostic, Sam Butera and of course, Sam ‘The Man’ Taylor along with many others. All of whom prospered during the post-war period of muted austerity hallmarked by a desire for quality jumping blues drenched sounds. Equally enjoyed by dancers and listeners alike.

Press release: Tonight @ the Glasshouse - Fergus McCreadie Trio

Flowing. Evocative. Rooted in Scotland’s natural beauty.

Critically acclaimed Scottish pianist and composer Fergus McCreadie dives into the essence of water with music from his new album ‘Stream.’

In the dynamic landscape of contemporary jazz, Fergus McCreadie’s carved a remarkable niche. Since 2021 his career has skyrocketed. His debut album ‘Cairn’ (Edition Records), set the stage for a journey deeply rooted in natural themes, while “Forest Floor” released 2022 was shortlisted for the Mercury Prize and clinched Scottish Album of the Year – the first ever Scottish jazz album to do so.

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

Playlist 12/05/24 (repeated Tuesday 14/05/24)

Requests: Count Basie Orchestra, Blossom Dearie (100th Anniversary).

Requests from Jeff Barnhart & John Hallam gig at Darlington New Orleans Jazz Club: Jeff Barnhart, John Hallam, Fats Waller, Keith Nichols’ New Paul Whiteman Orchestra, Coleman Hawkins, Benny Carter, Django Reinhardt, Claude Hopkins, Edmund Hall.