Another Great Jazz Night

Sonny Rollins

No apologies for mentioning them again. The Midland Jazz Connection were at the Test Match in West Bridgford last night, and the music again oused quality throughout the evening.

The MJC were again led by Paul Ricard, and the trio this time included Paul on piano, with Andy Wilson on guitar, and Mal Trott on saxophone. I have to say that of the many songs played, the trio's rendition of the classic "Autumn Leaves" was particularly beautiful, with the three instruments blending perfectly together.

Having spoken about the piano playing before, I thought that this time I would simply mention the saxophone. We were told that Mal was a great fan of Sonny Rollins, and anyone who has listened to recordings of Rollins will have no difficulty in detecting his influence. I can give no higher compliment than that. Mal had a great stage presence which compelled you to look and listen.

I found the following recording of the Harry Brown Quartet playing on the old Pebble Mill at One BBC programme in 1982. I hope that the Mal Trott on saxophone is the same Mal Trott from last night, or I'll feel really stupid, and have egg all over my face. Most of us look quite different now to how we looked nearly twenty years ago. However, I will proceed with confidence, and say that they are one and the same, until someone tells me differently. Don't let the slight interference at the start put you off.



The Test Match don't seem to advertise their jazz programme very well, so I'll do it for them in relation to the Midland Jazz Connection. Paul does a solo session on the first Thursday evening of every month, and the MJC are there every second Thursday of every month. Simple isn't it? I look forward to January 2012.

While we're on the subject of music, I've just come across a Nottinghamshire group that is blowing my mind away, and I can't wait to hear them live.

Maniere des Bohemiens

They are called Maniere des Bohemiens, which according to the 'LeftLion' magazine (issue 44) means "Manner of the Gypsies". Their style is described as "Infectious, rapturous, blindingly improvised Romany swing music". They acknowledge the influence of Django Reinhardt, and as I've been listening to his music for years, you can certainly see that influence in their playing. I'm very glad to see this gypsy jazz-style music alive and well in Nottingham. The clip below gives a flavour of their music, and I hope that you enjoy it as much as I do. It's a live gig at Nottingham Contemporary in May 2011.

Thirsty for Live Jazz

I was going to call this post, "Oasis in the Desert", because that's how I was feeling last night. However, "Thirsty for Live Jazz" was on the flyer opposite, and it does sum up my own personal feeling - I love jazz, and I love good live jazz even more.

I've mentioned Paul Ricard before here.  Whether in solo session as last night, or as part of his Midland Jazz Connexion, the evenings are a delight for true jazz enthusiasts. Paul plays some of his own compositions, or beautiful renditions of jazz standards. It's unfair to pick out any pieces for mention, but I'll do it anywhere. I'm always delighted to hear Gershwin's "Summertime"; "Can't Buy Me Love" by the Beatles, and one of Charles Asnavour greatest songs, sung of course in French (I couldn't remember the name of it).

These evenings in The Test Match (still officially known as a hotel, though it has never had overnight guests since it opened in 1938 - the word 'hotel' was included in the original application to make it seem more palatable than pub to the anti-alcohol brigade who were fighting against introducing liquor licenses in West Bridgford), are to me like coming across an oasis in the middle of a hot and arid desert. A bit fanciful I know, but judging by the relatively poor attendances at jazz evenings, I see the area as a desert, missing out on the delights of jazz. Are people missing out because they don't know it's there? If so, then the pub needs to advertise better. Or have people just decided that jazz isn't for them? If so, they need to get out more and listen to quality music of this genre. Paul and the Midland Jazz Connexion deserve to have a larger audience for their music. Plenty of people come into the pub to drink; it's time more people came into the pub "thirsty for jazz".

The Bill Evans Trio

When I hear Paul play, I'm reminded of the incomparable Bill Evans and his trio. I don't mean to say that there's imitation, it's just that I sense an influence. Paul will no doubt explain the technical differences, but I'm not a musical intellectual; I'm just a simple soul who appreciates what he hears in good music. I think it was Louis Armstrong who said, "If you have to ask what jazz is, you'll never know".

I've had a number of Bill Evans' albums for many years, and they never fail to thrill me. You can click here for a potted biography of the man. One of the most inspiring reviews of Bill Evans was written by Mark Tucker of acousticmusic.com in his review of 'Jazz Icons'. He says,

"Evans was always completely concentrated into his music. Somber, and in fact often almost funereal in aspect, the world existed in his hands, and he ceded everything to them. One could see the transfer physically. Only someone willing to play in that way could embody the million and one subtleties Evans displayed as a matter of natural course, from impeccable volume control and dynamics, to brilliant clusters of improvisation that seemed too knowing, pre-scripted, part and parcel of the writing, impossible to be the spontaneity they were. And his transitions in speed and tone! Panthers and gazelles cannot move more gracefully".

If that's not enough to get you out and buying Bill Evans' music, then perhaps the following clip will clinch the matter. It's his own composition called 'Waltz for Debby', which was written for his niece, and shows us everything about Bill Evans. Happy listening, and if you're not already there, join me at the oasis, and be thirsty for live jazz.

What's your perfect evening?

Paul Ricard

A perfect evening for me is a night of music in a pub, with a good pint of Robin Hood Ale, followed by a quality single malt. If that music is jazz, then so much the better, and if that jazz is played on the piano and sung by a gifted musician, then 'beam me up Scotty', I'm ready to go where the angels fly.

Such a night was last night at the Test Match pub, listening again to a solo performance from Paul Ricard. It was also a night of celebration for Paul's wife, as it was her birthday, and she'd just won a major research grant from the University. As I was with someone who knew them well, I was included in the round of champagne, which is not my favourite drink, but hey, a free drink is a free drink - I actually ended up drinking two glasses, so I can only assume that I must have nicked a drink belonging to someone else. Shame on me, and my apologies.

I've posted a comment about Paul and the Midland Jazz Connexion here before, but dare I say that I almost prefer the solo performance, though I love the trio as well. The choice of music covers a range of era's and genre, but all given an unmistakable style. There's standard jazz classics, blues, latin and arrangements of the likes of Eric Clapton songs. I was particularly moved by songs sung in French - what is it about the French language that can produce goose pimples? Paul also writes his own pieces, and I was glad to hear again his 'Paris Blues'. Talking at the interval about McCoy Tyner, I was delighted that Paul said he would play the solo piano version of Tyner's 'Contemplation'. I also so much enjoyed his arrangements of 'St Louis Blues', 'Ol' Man River', and 'Summertime'. If you're unfamiliar with Paul and his work, make a start by clicking on the video below, where he plays his 'Paris Blues', and is being interviewed in Nottingham.



Coming home at the end of the evening, I couldn't help but think about some of the songs that Paul played, and their place in musical history. The choice of favourite versions and performers from the past will always invoke debate, but that's what free speech and free thinking is all about. So, let me give a brief comment on four pieces played by Paul, and post a clip of my favourite version and performer.

St Louis Blues is one of the oldest Blues pieces (arguably having almost started the Blues genre), composed by W.C. Handy and published in 1914. The list of performers who have included this piece in their repertoire is a veritable who's who in the music industry. My favourite version? This has got to be Bessie Smith and Louis Armstrong from 1925.



Contemplation by McCoy Tyner is the second track on his 1967 album, "The Real McCoy". Tyner took up the piano at the age of 13, and in his later teens befriended the legendary jazz saxophonist John Coltrane. By the age of 20 he was the first pianist to join Benny Golson's Jazztet. He introduced African rhythms and unusual scales to his improvisations, and in the view of many, he revolutionised the jazz world. The clip below is just wonderful.



Ol' Man River was written for the musical, 'Showboat' in the second version of 1936, with music by Jerome Kern and lyrics by Oscar Hammerstein. The musical was about racism and love, and the theme has endured to this day. While the version of the song by William Warfield is extraordinarily powerful, I have to pick Paul Robeson as my favourite performer. He was already a well known singer and actor when he played the main role in the musical and later in a film. That rich voice just ouses pathos as he sings about the life of a slave. Try to listen to the words, some of which were changed from the original version.



Summertime is a song from the 1935 opera, Porgy and Bess, with music by George Gershwin and lyrics by Ira Gershwin. For years, this has been my favourite song of all time, whether as a song or instrumental piece. As a song there can be no better performance than that given by Ella Fitzgerald. However, my favourite of all is an instrumental version that brings moistness to my eyes just writing about it. It's by Larry Adler (harmonica) and Itzhak Perlman (violin). This was a performance given on the Michael Parkinson show in 1980 - incidentally, Parky was the finest chat show there's ever been, and I still miss it. Marvel at the exquisite playing of these fantastic performers.



I've given you a lot to listen to, but you don't have to do it all in one go. I'm sharing with you some of my passion, and what's the point of having passion if it can't be shared with others?

Great Jazz Pianists - Art Tatum

Arguably, the 10 most influential Jazz pianists of all time are;

1. Art Tatum: 1909 - 1956
2. Herbie Hancock: 1940
3. Duke Ellington: 1899 - 1974
4. Thelonious Monk: 1917 - 1982
5. McCoy Tyner: 1938
6. Willie Smith: 1893 - 1973
7. Fats Waller: 1904 - 1943
8. Oscar Peterson: 1925 - 2007
9. Ahmad Jamal: 1930
10. Chick Corea: 1941

I absolutely love jazz piano, and there is a long list of pianists that take my breath away. One of the all time greats is undoubtedly Art Tatum.

Art Tatum

He was born 1909 in Toledo, Ohio and despite being blind in one eye, and partially sighted in the other, he became one of the greatest jazz piano players who ever lived.

He came from a musical family, and did receive some formal training at the Toledo School of Music, where his teacher tried to steer him towards being a classical concert pianist, however, it is generally believed that he was largely self taught.

Art Tatum was more interested in the music of Fats Waller, which strongly influenced his style of playing. He once said, "Fats, that's where I come out of, and, man, that's quite a place to come from". At 18 he was playing interludes at a local radio station, and before long had his own show. In 1932 he was heard by the singer Adelaide Hall who brought him to New York as her accompanist. While in New York he established his reputation in 'cutting contests' with other top pianists, which he never lost. Over the coming years he played in Cleveland, Chicago, New York, Los Angeles and travelled to England in 1938.

In the early 1940's he formed a very popular trio with Slam Stewart on bass, and Tiny Grimes on guitar. In 1953 he was signed by record producer Norman Granz, and recorded many pieces as a soloist and in small groups with the likes of Benny Carter, Buddy De Franco, Roy Eldridge, Lionel Hampton, Ben Webster and others. He was hugely productive during this period, and Roy Spencer in his biography says that Art Tatum was constantly "refining and honing down after each performance until an ideal version remained needing no further adjustments". His work rate was unbelievable; for example, his solo sessions for Norman Granz were mostly completed in two days. That is a total of 69 tracks and all but three of them needed only one take. Art Tatum died on the 4th November 1956.



Though heavily influenced by Fats Waller in his early career, he went on to create an original style of playing piano. To quote from one biography, "His left-handed figures were similar to stride, but he was really known for the way that he explored harmonic complexities and unusual chord progressions. When improvising, Tatum would often insert totally new chord sequences (occasionally with a chord on each beat) into one or two measures. He also developed the habit of quoting from other melodies, something that became a standard practice among modern jazz musicians". Such was his grasp of musical notes that it was claimed that "he could identify the dominant note in a flushing toilet".

As with many disciplines, perhaps the greatest tribute to Art Tatum lies in the opinions of his peers. He influenced many musicians such as Bud Powell, and Herbie Hancock, as well as non-pianists such as Charlie Parker and John Coltrane. His influence led the way for a new style of playing called bebop.When Oscar Peterson first heard him play he thought it was two people, and he considered Art Tatum to be the best jazz instrumentalist of all time. It was also said that the classical pianist Vladimir Horowitz was so awed by Tatum's wizardry that it brought him to tears. Perhaps the greatest accolade of all came from his early influence, Fats Waller. In 1938, Art Tatum dropped in to hear Fats Waller play at a club. By way of introduction Waller told the audience, "I just play the piano, but God is in the house tonight".

I hope that this brief introduction to Art Tatum fires your imagination, and if you haven't heard too much of him in the past, that you will rectify that, and listen to one of the greatest jazz piano players of all time. Take a moment to play one last clip from the great man. This is his rendition of Humoresque by Dvorak, and is rare footage of him playing.



Happy listening.

Nottingham Green Festival 2011

22nd May 2011

I attended the Nottingham Green Festival at The Arboretum today. It is described in the Organiser's website, "Nottingham's only green event now running annually for over two decades, is the event that brings everything that is wholesome and healthy for you and the planet to the people of Nottingham and beyond. Representing to many health and happiness, and lots of family fun, and the start of the summer season.

With our environment and changing weather on everyone's lips, our own green festival is the place for the whole family to learn, explore and try the latest in everything environmentally friendly and ethical, whilst also having lots of fun in the beautiful setting of the Arboretum Park.

This event has over 100 product, information and food stalls, kids rides, workshops, alternative therapies and technologies, live performers, entertainments throughout the park, live music bands performing from the bandstand, and Veggies Catering nearby".

Arboretum 22nd May 2011

How did the Festival live up to its billing? Though windy, it was a beautiful sunny day, and thousands were out in the park, viewing the stalls, and with families and groups enjoying picnics.

The range of stalls certainly catered for everything that was "wholesome and healthy". There was the all embracing Greenpeace, to the small and local protection of the hedgehog. Animal welfare was side by side with human welfare. Plants and food sourced locally were being sold at fairly reasonable prices. A small book stall, with profits going to charity, was asking you to give more than the small asking price. Not a bad marketing ploy that.

Alternative sources of energy were on display, particularly solar panels. Alternative therapies also had a stall, providing Massage and Reiki. Some strange (to me) massage techniques were taking place on tables outside of the tent, in full view of everyone. Now, I like a massage, but not in full view of thousands of people passing by. (I must have had a sheltered upbringing).

The juxtaposition of two stalls really interested me. The Socialist Workers Party were calling on the TUC to organise a national strike against the cuts, and for us all to engage in a "Day of Rage". Directly opposite this stall was one being run by the Buddhist Community, who advocate anything but rage. I guess that you could get angry in one, and be calmed down by the other. Or perhaps you could visit the one to be calmed before a visit to the other, and there would be less inclination to rage. However, neither stall seemed to be doing much business. Please don't think that I'm mocking here, because I'm not; it just made me smile. (I have been told that occasionally my smile looks like a sneer, and makes me appear a bit sinister. I don't believe that of course, but just in case it's true, I don't mean it, as sinister is not part of my makeup, and I've just realised that I'm finding it difficult to get out of this parenthesis, now where is that door?).



Arboretum Bandstand 22nd May 2011

 There were a number of food outlets designed for healthy eating, though I'm not totally sure that chips fits in to that bracket, although in moderation of course they can be very nice.

There was lots of things for children to do which was great. There was a very large blown up slide, tug of war and exercise fun with parachute canvas.

One display had me a bit confused, as there were about 20 people in identical tee shirts standing around in a circle, clapping their hands, with some of them doing a kind of chant. Two of the number were in the centre of the circle doing what looked like dance to martial arts moves. I have to say, that though I was slightly confused, the performance was very beautiful, and the dance extremely graceful.

There was also music performed all afternoon from the bandstand. Five groups seemed to be allowed 45 minute sets, and I was thrilled to see that the first set was being performed by a jazz group. I sat in the sunshine enthralled by their performance (sorry, but I couldn't see their name). The following groups seemed to be a mixture of Reggae and Hip hop, but thankfully it was time for me to go. After all you can only have so much fun in an afternoon.

In all, it was a great day, and a great event, held in a fabulous setting, and I expect that we were all very glad of the sunshine.

Arboretum 22nd May 2011

Arboretum 22nd May 2011