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Editorial: CDs- Where Do You Shop For Yours? A look at our shopping habits, and a possible need for change. Feature: Imaginary Dances & Perfect Houseplants, saxophonist Mark Lockheart talks about his current projects, and new CD featuring the 11-piece Scratch Band. Musician's Play List:Guitarist, Phil Robson, pick his all time top ten albums Article: Jazz On The Internet ? A new feature taking a look at jazz on the net. This month JAZZ MOODS.CO.UK Update: Stacey Kent?s star continues on its ascendancy. BBC Radio Jazz Awards: Winners announced. Competition:Your chance to win a copy of "Imaginary Dances" by saxophonist Mark Lockheart. CD Reviews: Reviews of recent releases by Colin Steele, Julie Edwards Quintet, Hancock/Brecker/Hargrove, and Andy Panayi
After talking in last month?s Editorial about how the jazz scene appears to be thriving, with festivals throughout the UK all through the summer months and into autumn, I was dismayed to read in a recent jazz publication a letter from a disgruntled CD buyer complaining how difficult it was to obtain some of the CD?s reviewed in said publication. It appears that they had gone into their local high street store, one of the ?major? retailers in the UK, and asked for a copy of a CD that they had seen reviewed, only to be told that they?d ?never heard of it? and none of their suppliers could obtain it for them. Also, it appears that it wasn?t just independent labels that they struggled with, but an important US label with an international roster of artists. Now it just so happens that I frequently visit the shop in question, the writer of the letter and the offending shop being not too far from where I live. It must also be said in their defence that they are not bad, as I have ordered from them myself in the past. But, and this is the point I wish to make, if we shop in the High Street stores that ?cater for all musical tastes? then we can expect to be limited in the choice offered to us of what they deem likely to be good sellers or for the more cynically minded ?what they think we should listen to?. Jazz being the truly creative art form it is, and whether we like it or not, considered to be a minority interest, is never going to be represented as well in many shops as well as the current media favourites. The usual range of products in most of the general record stores will comprise of tried and tested reissues on major labels, a selection of compilations (usually ?smooth jazz? and budget priced sets of dubious origin) and recent releases by present day jazz stars such as Herbie Hancock, Michael Brecker, Wayne Shorter, Diana Krall, Joshua Redman, Keith Jarrett? you get the picture? And whilst we appreciate releases by the majority of the above are valuable in their own right (I think I?ll duck the Jazz versus Krall debate on this outing!) there are many fine releases by artists from all over the world, and especially our own home grown product, that are worthy of our attention. But how we do we obtain them? Well if we?ve never had it so good with the amount of live jazz available during the current (and extended) festival season, and there in no dearth of new releases being touted in the jazz press, then by the same token we are now being spoilt for choice in the availability of our favourite music via the internet, mail order stockists, and the few remaining ?specialist shops? all ready and raring to go to order whatever we desire. The internet will surely come into it?s own in the near future, with nearly all the major labels, and an ever increasing number of small independent and musician run labels, all having their own websites offering CD?s for sale. There is also specialist mail order stockists who frequently have access to thousands of titles, both current releases and officially produced reissues on almost all of the labels you could reasonably want, whatever ever your personal preferences and tastes may be. So maybe instead of griping about what we cannot find in the High Street, perhaps what we need more than anything is to change our shopping habits. We all like a quick fix, a spur of the moment purchase and instant gratification when arriving home to listen to the newly acquired disc, but consider the merits of the almost unlimited supply of music available from browsing the net. The delight in a new discovery or a rare and forgotten gem, often at more than competitive prices, and delivered direct to your door. If you remain unconvinced, take a few minutes to have a browse through our ORDER ONLINE service courtesy of Crazy Jazz or a take a look at Jazz CDs, a site dedicated to supplying contemporary jazz CD?s from independent labels. But beware; a quick browse can quickly turn into hours, as the sheer volume of quality releases can be quite overwhelming. Top of Page
 The 1980?s saw an extraordinary Jazz Boom, with venues clambering to provide the best in the New Jazz that was rapidly emerging from a healthy UK scene. It appears, with hindsight, that Britain was a veritable hothouse of young talent just waiting for their moment. It was out of this greenhouse climate that the big band Loose Tubes burst upon the scene, with a serious of highly publicised gigs, and their self-titled debut album released in 1984 causing quite a stir, and not just a little controversy along the way. With a mixture of powerful and inventive soloists, and some creative writing from within the band, from keyboard player Django Bates, and bassist Steve Berry amongst others, it was here that I first encountered the playing of Mark Lockheart. During a recent conversation with Mark, discussing his latest release ?Imaginary Dances? and future plans, that I raised the question of those early days; racing around the country in the band bus from one gig to the next with a 21-piece big band, with I seem to recall, more than one eccentric in tow. JAZZ VIEWS: It?s hard to believe that it?s nearly twenty years since the formation of Loose Tubes, tell us about your involvement with the band and your recollections of the media hype that seemed eager to promote a burgeoning Jazz community. MARK LOCKHEART: It was incredible really the attention Tubes got and although it was jazz it felt like we were in a pop group sometimes. You only had to do a gig somewhere and there was always a review in one of the national papers. I don?t know how it became so popular in Thatcher?s Britain, perhaps it was a necessary escape for people. JV: As well as the big band, there were also ?splinter? groups from within the band. One of the most notable was the Steve Berry Trio, featuring you, Steve and drummer Peter Fairclough, how did that group originate? ML: Steve and I had worked together for a number of years together in a band called ?Lets Eat? which had John Parricelli and percussionist Dave Patman in it. The band actually was quite successful and we won the European Jazz competition in 1982. Steve formed the Trio in 1987 and we released an album on the Loose Tubes record label. JV: Loose Tubes disbanded after five years and three recordings. The band always seemed to run on a democratic level; was it a mutual parting of the ways, or do you feel that the band had run it?s course? ML: Tubes wasn?t always democratic and towards the end sort of tore itself apart. However my overriding memories are of something very special and idealistic and a complete one off really. Some of us thought we could have gone on like the Ellington orchestra and stayed together for ages but ultimately there were too many egos for one group. JV: After the demise of Loose Tubes, things seem to quieten down in general. What were your creative outlets at this period? ML: After Tubes I toured a lot with Annie Whitehead?s Band where we went to India, The Far East and Europe. I also did lots of sessions with people like Robert Wyatt, Prefab Sprout and also started working with the singer June Tabor. JV: In the early 90?s you furthered you reputation with a new band, Perfect Houseplants, with Huw Warren, Dudley Phillips and Martin France. The band appears very much a cooperative, how did the band get together? ML: Huw, Dud and I all had four piece groups with the three of us in. The drummer was different and so were some of the tunes but basically it was the same band .So, we decided to make one group and all write for it and this became Perfect Houseplants. We auditioned drummers and settled on Martin France who has been integral to so much of my music. JV: Houseplants have recorded five well-received albums, are there plans to record the band again? ML: In fact we have just finished the sixth, which isn?t out until early 2003, but we are pretty excited about it. The new album is called Extempore 2 and is a collaboration with the early music vocal group the Orlando Consort. We hope to be working on a new project in the next six months ? watch this space. JV: As well as Perfect Houseplants, you currently have a new CD released under your own name, for which you composed all the music. Composing is obviously important to you, perhaps you could elaborate on this, and tell us about the musicians you have assembled on the recording. ML: ?Imaginary Dances? is the second album I?ve done with my 11-piece Scratch Band. The previous album called ?Through Rose-coloured Glasses? had the same line-up except for Henry Lowther who isn?t on the second one. I formed the Scratch Band because I wanted to write in a more orchestral way but still have soloing and group improvisation. The band was formed around the Houseplants rhythm section but adding John Parricelli on guitar, a brass quartet ( 2 trumpets, french horn, bass trombone) two saxes and flute. I figured this line-up would give me lots of colours and possibilities, and I?m still finding more all the time. 
JV: It is the use of the colours available within the instrumentation that make the album such a continual sense of discovery. Finding your own voice is what every jazz musician strives for, but one has to absorb and acknowledge influences during that process. Who have been your influences as a saxophonist and composer? ML: I like so many different types of music so it?s difficult. On saxophone of course Coltrane, Wayne Shorter, Sonny Rollins, Garbarek, Paul McCandless (from Oregon), and so the list goes on. Composers I?ve been influenced by are Stravinsky, Gil Evans, Frank Zappa, Burt Bacharach, and John Adams. JV: I understand that you teach at Trinity College, how do you view your role as a teacher as an improvising musician? ML: Teaching is an important learning process for me and I?m most interested in trying to get the student to find his or hers own voice. I do also have to be careful that I don?t teach too much as I?m convinced that the part of the brain you use to analyse and explain is not the same part you use to create ideas.  JV: How do you perceive the differences between the current US and British scenes? ML: I think the British scene has more contemporary classical influences than American jazz, and to me seems to crossover more with folk music. I think there?s a really strong European voice, which could only come from Europe with people like Jan Garbarek; and in Britain Django Bates, John Taylor, Kenny Wheeler and Perfect Houseplants. JV: Finally, if you listen to the media, it appears that audience figures for jazz concerts are at somewhat of a high. Are the opportunities to play out there, and do you think there maybe another resurgence of interest in the music, and have audience expectations changed? ML: I?m not sure that audience figures are up, certainly not in my experiences recently. I think the performing arts are really fighting for attention at the moment and I can?t help thinking that a lot of people would rather stay at home and watch ER on the telly instead of venturing out to hear some new music. Sorry if I sound a bit negative. Top of Page
 Phil Robson is rapidly becoming one of the most in demand guitarists on the UK scene. As well as having played extensively with Tim Garland, the Creative Jazz Orchestra, Ian Ballamy, Stan Sulzman, Martin Speake and Django Bates? big band Delightful Precipice; he is a regular collaborator with the Christine Tobin band, writing and arranging for Christine as well as playing.Phil also finds the time to co lead the band Partisans with Julian Siegel, and has just released a new solo project ?Impish?, with John Taylor taking a guest role, to critical acclaim. When compiling his Play List, Phil observed: ?There were so many different approaches to putting together this list that I decided to just go for the first things that came into my mind as I love so many different types of music from all around the world.? Miles Davis - 'Miles in Antibes' (Columbia 462960-originally 'Miles in Europe'). I am a total Miles freak so I could easily have filled up three lists with his albums but I picked this one as it was the record that first really got me into Jazz. It was my Dad's and I practically wore it out when I was about 15, trying to work out what was going on! John Coltrane - 'A Love Supreme' (Impulse! 051155-2) No need to say anything about this masterpiece. Wes Montgomery - 'Full House' (Original Jazz Classics OJC 106) This is a fantastic live record with Johnny Griffin, Wynton Kelly, Paul Chambers and Jimmy Cobb. Everyone plays amazing and it just grooves from start to finish. Dave Holland - 'Extensions' (ECM 941778-2) This CD had a big influence on my own music because it has deep references to the past and still points to the future. I love Kevin Eubanks (guitar) and the trio version of this band was one of the best gigs I ever saw live. Jimi Hendrix - ' Electric Ladyland' This album was so innovative in so many ways and it is still hard to find any electric guitar sound that he didn't get on this record. I think Hendrix is the closest thing to 'Trane' on my instrument in terms of intensity and sound. McCoy Tyner - 'The Real McCoy' (Blue Note 97807-2) Another huge influence. Every track is killing! I've often wondered if they realised that at the time. Great tunes and playing from all and for me this is Joe Henderson's finest hour, if not McCoy's also. Sonny Rollins - 'A Night at the Village Vanguard' (Blue Note 99795 2CD) I love the way Sonny plays in this trio format (with no chordal instrument). He really improvises and makes all the standard tunes his own with that gigantic sound and presence. Betty Carter - 'Inside Betty Carter' I love her singing and the way bands play with her. She is still the most truly modern singer I know of. I particularly like this record as it captures a vulnerability which is sometimes less evident in her other recordings. Chick Corea - 'Now He Sings, Now He Sobs' (Blue Note 90055) Another classic trio with incredible interplay. I seemed to spend a whole year listening to this once. Roy Haynes and Miroslav are incredible and I love the musical language.  Pat Martino - 'Desperado' (Original Jazz Classics OJC 397) Had to include this as he is lesser known than the others but certainly shouldn't be. He has incredible intention behind every note. I think that the early 70's was another golden era that most people have bi-passed and I am still trying to discover it. Pat is particularly scary on this as he plays a 12 string guitar as if it is no different with one of the roughest and most exciting sounds I have heard. Check out Phil Pobson?s new album ?Impish? featuring John Taylor, Dave Whitford and Asaf Sirkis, on the BABEL LABEL. For more info  Top of Page
As has already been mentioned on our Jazz Sites page, jazz on the internet is becoming as comprehensive as any other subject you care to name. It is with this in mind that this is the first, in which I hope will be a regular feature, highlighting some of the best jazz websites on the net. Whether they are general sites covering a wide spectrum of styles, sites to feature specific musicians, groups, record labels, or sites geared toward a specific service within the industry, if they are of interest Jazz Views will let you know about them. Alternatively, if you have discovered a great site whilst surfing the net, then let us know at . This months featured site is Jazz Moods. An ideal place to visit if you?ve ever wondered where to find a band or artist for a function that you?ve been roped in to organise. The website is easy to navigate, and can be accessed as a Dial Up User or a Broadband User, and access through your chosen route is quick and efficient. Once you have entered the website, the information is ready at you fingertips, with simple to follow cues at the foot of each page. Booking top class entertainment for your function has never been easier, with advice given on the type of artist/group to create the right atmosphere and mood whether you are arranging a band for a Wedding, Dinner Dance, or to make a party a truly swinging affair.  Jazz Moods clients include the Royal Albert Hall, Ronnie Scotts Jazz Club and major hotels such as The Savoy, the Ritz and The Dorchester. The various bands and acts that Jazz Moods represents, along with price guidelines, can be found either via a drop down menu or by following the ?Time Line? which shows where each artist can be placed chronologically within the time scale of the origins of their style within the 20 century evolution of jazz. Advice is also given on how you should go about selecting a band for your particular function, along with audio samples as a representation of what you will be getting for your money. This is an extremely useful section, as it goes on to advise how many guests and size room that the artist will can comfortably entertain. Guidance is also given on what to expect when the musicians arrive, from time that should be allowed for setting up of equipment and sound checks, and dress code.  With an impressive roster of artist including Anita Wardell, Tina May, Louise Cookman, the Pasadena Roof Orchestra, Gwyn Allen and the Quarterbacks (Gwyn shot to fame after his appearance in ?Stars In Their Eyes? in 1997 with a memorable performance as Louis Armstrong), and their very own Jazz Moods Dixie Trio and Jazz Moods Trio/Quartet. So next time volunteers are being sort to arrange entertainment for the office party or Annual Conference, take the opportunity to book the music you wish to hear, and visit Jazz Moods Top of Page
BBC Radios 2 and 3 came together on 31 July to present the second annual BBC Radio Jazz Awards which were held at London?s Queen Elizabeth Hall. Co-hosted by Jools Holland and Courtney Pine, the event was a star studded affair celebrating the whole spectrum of the jazz genre. The ceremony featured award presentations by Clive James, Mark Knopfler, Kenneth Clarke and Moira Stewart among other celebrities, and performances by a host of jazz stars, including a show-stopping performance by Best Band winners, the Jazz Jamaica All Stars. Winner of Best Vocalist, Stacey Kent, entranced the audience of radio listeners and VIPs with her take on Isn't It A Pity and John Taylor and Oren Marshall performed music from the Best New Work. The all female sax quartet Saxophony were great surprise opening act, highlighting the committment to young talent of the BBC and of Lifetime Achievement Award winners Dame Cleo Laine and John Dankworth, at whose Stables venue they first met. Dave Brubeck presented their award from New York by video link. Scottish piano maestro Brian Kellock?s Trio whose Live At Henry?s was a well deserved winner of Best Album, were a great crowd pleaser as were the Big Chris Barber Band, Chris winning the brand new Jazz Heritage award. The fantastic 20 strong Jazz Jamaica All Stars were back on stage to perform with ?Rising Star? Soweto Kinch among their ranks and, the highlight of the evening, a version of Mamoshaba with International Artist of the Year, Hugh Masekela. The award presenters and winners are detailed below: Best Album: Brian Kellock Trio ? Live At Henry?s presented by Denis Lawson Best Band: Jazz Jamaica All Stars presented by Sue Mingus Best Vocalist: Stacey Kent presented by Humphrey Lyttelton Best Instrumentalist: John Surman presented by Ian Carr Rising Star: Soweto Kinch presented by Clive James Best New Work: John Taylor, Green Man Suite presented by Mike Gibbs Jazz Innovation: Matt Bourne presented by Julian Joseph Services to Jazz: Chris Hodgkins (Jazz Services) presented by Moira Stewart International Award of the Year: Hugh Masekela presented by Annie Whitehead Jazz Heritage Award: Chris Barber presented by Mark Knopfler Lifetime Achievement 1: Cleo Laine & John Dankworth presented by Dave Brubeck Lifetime Achievement 2: Stan Tracey presented by Kenneth Clarke The awards will be broadcast on BBC Radio 2 on Monday, 5 August at 7.00-8.30pm and on BBC Radio 3?s Jazz Line-Up on Saturday, 3 August at 4.00pm. The awards will also be available online as a streamable webcast from Monday, 5 August at www.bbc.co.uk/radio2 Top of Page
Congratulations to Stacey Kent for her Triumph in the BBC Radio Jazz Awards on July 31st, winning the coveted "Best Vocalist" catagory. Stacey is now firmly established as the most popular 'jazz' vocalist in the country and her face graces the covers of myriad music magazines. Journalists from the broadsheet papers and celebrity press are beating a trail to her door and every show she ever plays is a sell out. Internationally, her profile is rising equally as fast. Well-known American agents are fighting to represent Stacey, who is playing to bigger audiences in more countries than ever before. For the forth year running, Stacey has been invited to perform at Herb Allen's Sun Valley retreat where the world's powerbrokers (Gates, Murdoch, Eisner) meet to relax and compare notes. A summer of international festivals has Stacey globetrotting once again to France, Belgium, Spain, Portugal, Poland and Scandinavia, concluding with Stacey and her band settling into New York's famous Oak Room at the Algonquin for a month long residency in September. Though she now has dual citizenship and houses in London and New York, hotel rooms are where she usually rests her head, thanks to a datesheet that is full right through 2003. Back in the UK, the trend of using the Great American Songbook on TV commercials continues and Stacey has just finished recording an advert for an unnamed major corporation (see if you can spot her voice). Another place to listen out for Stacey is in the dance charts - the success of the Verve Remixed album (classic jazz tracks remixed by the likes of Massive Attack, Rae & Christian etc) is timely, as Stacey has been approached by top name producers, wanting to sample her unique vocals. Nightclub promoters who perceive her classic jazz interpretations as the ultimate in hipdom, are also showing great interest, and Oscar-winning US songwriter, Bob Telson, whose songs are sung by George Michael, Celine Dion and KD Lang among others, has just finished recording with Stacey, a song called 'Lemon Ice,' for his new album. Best-selling crime writer, John Harvey, name-checked Stacey in his new book, ?Still Water,? as the lead character, Charlie Resnick, goes to a fictional US club to be wowed by the very real Miss Kent. Another literary fan is 'Remains of the Day' author Kazuo Ishiguro, who chose Stacey to accompany him onto his Desert Island when interviewed by Sue Lawley and who has just written the liner notes for her next US release. BBC Radio 4 listeners are in for another treat when Stacey chooses a book for A Good Read. Stacey's own Radio 2 and Radio 3 shows go from strength to strength, and she will be voicing a radio series broadcast to celebrate the centenary of the birth of Richard Rodgers. A year long programme of Rodgers related events kicked of on June 17th, with a VIP party at the Theatre Royal, Drury Lane, which featured a performance by Stacey herself. Kent's own tribute to Richard Rodgers is her latest album, 'In Love Again' (Candid Records), which the press have called ?A winner. An absolutely superb album from a singer who is truly touched by greatness? and 'as near to perfection as it gets'. For more info check out our review of ?In Love Again? in CD Reviews Also at www.staceykent.com and www.candidrecords.com |
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