The Jazz Digest, August 2011

Choice snips from Jazz Journal, August 2011

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Jazz Journal August 2011Dan Block to Bruce Lindsay
"I see jazz as a continuum. There are certain people, especially in more recent history, who can see right through to the beginning of the music. Scott Robinson is one. When I play with Scott, we just get into each other’s brains. He has that kind of vision, not locked into one type of music."

Courtney Pine to Garry Booth
"I found my tenor playing was getting really chromatic in a kind of Michael Brecker way. I was just playing patterns up and down really chromatically. I really didn’t want to play like that," he explains. "And with the bass clarinet you can't play like that."

Artie Shaw back in NY in '59 as reported by Tom Nolan
"Tremendous amount of hatred and political crap goin' on," he thought. "And black dislike of white. It's all bullshit, I don’t like that; it's nothin' to do with music. When a guy starts honking . . . That's not what music is about, for me. Why would a guy want to play an instrument and make it sound ugly on purpose? . . . That’s got nothing to do with music: honk."

Steve Voce on the Tubby Hayes Legacy band
"This is obviously an expensive band to put together and so it only works a couple of times a year. More fools the festivals that don’t book it. It can't miss. If it was up to me I know where I'd put the budget. It was the best big band I'd heard in 20 or 30 years."

Lockerbie Jazz Festival competition
Just one of the four questions: "A renowned Scottish jazz singer was one of the hits of the 2010 Lockerbie Jazz Festival. Name her and two other singers who have recorded for the Scottish record label whose name, like other good things jazz in Scotland, begins with 'L'." Buy the August issue for complete competition here.

Anthony Troon on Duke Ellington on DVD
"Some political issues during Duke’s lifetime are touched upon: Duke was brought up in the era of racial segregation. But he seemed to deliberately distance himself from the Black Power movement of the 1960s. Asked to comment on that development, he had the perfect answer. 'I wrote Black Beauty in 1938,' he said drily."

Bob Weir on Chico & Rita on DVD
"The story might be simple (essentially A Star Is Born located in late 1940s/1950s Havana and New York) but it is drawn and directed with considerable wit, imagination and sophistication. The ups and downs of the jazz life are treated honestly with believable episodes concerning drugs, racism and US-Cuban politics."

Michael Tucker on Andrew Wright Hurley's Joachim-Ernst Berendt biography
"If it was perhaps inevitable that the great power in German jazz life which Berendt acquired led eventually to various questionings of his role and authority, the simply silly remarks he made in the mid-to-late 1970s (largely concerning the emergence of the ECM label) about a 'fascism of pretty sounds' in contemporary jazz were scarcely likely to enhance his reputation."

Steve Voce on Music Is My Mistress
"I have never been able to reconcile the fact that Duke Ellington partly wrote and certainly acknowledged the dreadful book Music Is My Mistress. I have been re-reading this dull work and am amazed that it should be allowed to stand as the autobiography of one of jazz's most important figures."

Derek Ansell on the Coutances Festival in Normandy
"Good music, good weather, good organisation, a typical French city setting with a cathedral on top of a hill and all within easy striking distance of southern England. Who could ask for more?"

Peter Gamble on Liane Carroll's CD Up And Down
"The singer’s fans will love it and it should be a wake up call for all those who have yet to appreciate probably the UK's finest jazz singer."

Fred Grand on three CDs issues from bassist Terje Gewelt
"If I had to recommend just one of these three discs it would be Selected Works (Resonant RM23-2), the perfect portal to the richly satisfying musical worlds of this deeply poetic musician."

Dave Gelly on Hamilton, Tate and Alden's CD A Splendid Trio
"Modest in scale though it is, the music of Hamilton, Alden and Co. must be counted amongst the most delightfully inventive jazz being played today."

Hugh Rainey on Humphrey Lyttelton's CD High Class
"The CD finishes on a high spot with nine tracks from Humph’s full band, which sounds simply wonderful – richly textured, ferociously driving big band mainstream, with superlative arrangements. Another first-class reissue from Lake. Not to be missed."

Garry Booth on David Murray's Cuban Ensemble take on Nat Cole
"Imagine the Buena Vista Social Club teamed with Charlie Haden's Quartet West and you’re getting warm. Add in Murray and it's off the scale."

Peter Gamble on John Scofield's CD A Moment's Peace
"Scofield’s latest release gets about as close to easy listening (in the most positive way) as anything we have heard from him previously."

Bruce Crowther on Warren Vaché's and Alan Barnes's CD The London Session
"An immensely enjoyable mainstream session, this CD finds co-leaders Vaché and Barnes in complete understanding, both men delivering fine solos and also providing able collaborative support."

Michael Tucker on Weather Report, Live In Offenbach 1978
"Passage after passage of freshly turned ideas from Zawinul and Shorter . . . Unmissable magic from one of the outstanding groups of jazz."


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