Impossibly Good?

Courtesy of Mr Walker himself, I've just found out that the Gwilym Simcock, Mike Walker, Steve Swallow & Adam Nussbaum quartet have the new moniker of 'The Impossible Gentlemen'. There's a new album and tour to look forward to 2011 too. A tad more info on Gwilym's website. Their sellout concert at the RNCM was reviewed on the Modulator below.

Kind Folk

Kenny Wheeler 80th Birthday Concert, Royal Northern College of Music, Manchester, Saturday 23rd October 2010

A lovely evening was had at the RNCM last week for the Kenny Wheeler 80th Birthday concert. It's been a while since I've seen Wheeler, back in the days when I was living in London. I managed to catch him quite a few times at the Vortex, then on Stoke Newington Church St, and I really remember shuffling past him practising on the stairs.


Wheeler's lost none of his modest charm, opening the set in quartet formation, himself of course on flugelhorn, Manchester ex-pat John Taylor on piano, Chris Laurence on double bass and Martin France on drums. A tentative and vulnerably beautiful 'Kind Folk' was followed by a steadier 'Everybody's Song But My Own'. The UK stalwarts continued to appear, with sax players Stan Sulzman, Julian Arguelles joining next, then with Evan Parker for a top sounding short free improv banter with drummer France. Vocalist Diana Torto entered with the rest of the big band for a great set of characteristically fulsome Wheeler arrangements conducted by Pete Churchill.

Wheeler's compositional skills are in fine form, the band treating us to a series of gorgeous new pieces. 'Canta No.6' was a highlight, with some great gusto improvising from Torto and a touching autumnal solo interlude from Taylor, who was on sparkling form tonight. Catching Taylor was an extra treat for me, as I've been wanting to see him play for some time, having heard many versions of his UK standard, 'Ambleside Days' (and having put in a good few hours on it myself).

On the whole the solo improvisations were quite short and to the point, the musical centrepiece of the concert being Wheeler's warm and rich arrangements. I was really impressed with Torto who made the most of her opportunities to shine. A heart warming evening, and a great lead in to John Taylor's gig with Torto and the RNCM Big Band.

Manchester Jazz Festival Website Now Live

Red hot off the Wordpress! - full details on the 15th festival, the biggest to date. Loads of extra goodies including an interview by me with Mike Walker. Go there now:

http://www.manchesterjazz.com

Astral Week Days

Alice Zawadski & The Sky Project, Beats and Pieces Big Band, and The Rapley/Chatterton Quartet. West Didsbury Club, Manchester, 20th May 2010

There was a great buzz to be felt last night over in West Didsbury at the local Conservative club for a swiftly organised coalition of wide ranging jazz party members.

The Rapley/Chatterton Quartet opened the debate on this barmy night with a relaxed and well measured take on Wayne Shorter’s ‘Witch hunt’. Some smart and virtuoistic playing exuded from Mathas Picard on the keys, especially evident on the solo intro to Kenny Wheeler’s ‘My Old Man’. Chatterton delivered some thoughtful flugalhorn lines on this track too, with just the right touch of endearing vulnerability. Harrison Wood's double bass came through crisply on the intro to ‘Blue in Green’, Rapley’s tenor sounding especially sweet over this great tune.

The 15 piece Beats and Pieces Big Band kicked up the volume and energy levels straight off with ‘Bake’, a fast driving tune with a distinctly funky flavour. Sam Healey on alto sax matched the pace aplenty with a precise and intense solo, one of many highlights in the set. Whether intended or not, there’s a definite Starsky and Hutch seventies'ness to the band sound, as Ben Cotterill, conductor and arranger of all pieces and composer of most, indicated other reviewers have picked up on. This can only be a good reference for my part. ‘Yaffwa’ opened with an engaging repeating figure, expertly played by the tight and Corea’ish Patrick Hurley on the keys, Fin Panter on drums underpinning things with a tasty latino-funk groove. ‘Toan’ had a stompy Tom Waits/Polar Bear quality ending in a gorgeous cacophonic collective improv. Sam Andreae on tenor was particularly bracing on the following Radiohead triptych. All through, the arrangements were precise and coherent, with just the right amount of complexity, dynamics and space. The band were sounding bang-on tight as well, the overall effect clearly catching the audience’s attention. This was the first date of the band's tour, so make sure you catch 'em while they're hot.

I was intrigued to hear what the Alice Zawadski Big Sky Project would be about, as we don’t get many vocalists coming along on the jazz scene. Top stuff it was, Zawadski having very much a sound and feel of her own on top of all the craft and vocabulary of a classic jazz vocalist. Scat vocal improvising is a definite danger zone as far as I’m concerned, but Zawadaski more than got away with it on the opening ‘Austin Flowers’, accompanied by some punchy wah-wah sax improv from the twitchily intense Phil Meadows. Their take on Mike Walker’s ‘Wallenda’s Last Stand’ was somewhat tentative, and I’m still not sure if the character of the tune suits a big band arrangement. 'Cat’ was the highlight of the set for me, a Zawadski penned track about ‘drug-fuelled sex and spiritual possession’. The sparse bass and unexpectedly twisted vocal intro was really quite disturbing, this being followed by some comfort zone classic swing to let us down, only to be disrupted by a psychedelia-tinged free improvisation. Towards the end of set the band delivered a pensive and genuinely quite moving version of Neil Yates’ ‘Chance Melody’. Zawadski sounded quite beautiful here, conveying the lyrical sentiment in an entirely convincing way, with Graham South’s tender flugalhorn lines matching the moment perfectly. With the Sky Project being a new entity, there are things that need working on, and I’m not sure the set as a whole works just yet, especially when compared to the well-honed Beats and Pieces. There is real promise here though, so I hope Alice and the band keep the thing moving forward. Some more cats please.

Madhouse Back in the House

Mike Walker Sextet, Band on the Wall, Thursday 8th October 2009

The occurrence of a welcome return to the newly reopened and refurbished Band on the Wall happened last night for an initially somewhat phased looking Mike Walker with his Sextet. The place doubtless now has a different atmosphere, one which Mike admitted threw him for a song or two, with him having many strong memories of the place in its previous less reverent guise.

Mike showcased much of the material from the 'Madhouse and the Whole Thing There' album, as well as material from last year's Manchester Jazz Festival commission, 'Ropes' and a couple of new tunes. The set opened with a familiar cover of Steve Swallow's 'Ladies in Mercedes'. Keyboard player Malcolm Edmonson's synth was a bit plinky for my taste on this whilst the overall sound was bedding down. A fast angular take on 'Solar' followed to warm things up. Mike announced that the next song, 'A Real Embrace' was for Annie, his mum, the solo guitar introduction of which was really quite familially moving. A gorgeous duo version of 'Clockmaker' from Mike and Les Chisnall on the grand piano was wistful and reflective in a suitably autumnal way. The pace and fire then upped for a complex new song, 'Laugh Lines'. Some fast bop playing from Iain and Mike hit the sweet spot, and the closing unison head was delivered with satisfying precision.


The expansive 'Madhouse and the Whole Thing There' track opened the second set. This is a personal fave of mine, and it gives Mike a great opportunity to stretch out and blow with real force. Others at the Band on the Wall last night clearly agreed, as this track was the best received track of the night. The time signature metrical tricks of 'EAminG' gave drummer Pat Illingworth a chance to earn his money and kept double bass player Steve Watts honest to boot. I wasn't entirely convinced by this track so I will reserve judgement for another hearing. The unison horn and guitar line did have a certain digital pitch shift quality not unlike our blessed ring modulator. The keyboard strings worked best on a charming version of 'Wallenda's Last Stand', the parts sounding convincing capturing the wind gust effect that knocked poor Wallenda off his rope for the last time. Les Chisnall was once again a delight on this one. Some more bristling fire storm guitar from Mike finished a fine evening on the, once again, wrong footing meter of 'Dad Logic', and the encore sweetness of 'Safe Home' sent us home with smiles on our faces.

P.S. Despite a bust amp requiring a loan replacement from a local mate, last night's gig at The Continental in Preston (Sat 10th October) was phenomenal. Mike was a good as you'll ever hear him, particularly on the 'Madhouse and the Whole Thing There' track. Really glad I made the effort to go. The Continental's a great venue as well.

Strathclyde University Big Band featuring Mike Walker

The Cinnamon Club Lounge, Bowdon, Friday 13th March 2009

I was a little on the late side making it down to the The Cinnamon Club to be met by a packed house for the Strathclyde University Big Band featuring guest star Mike Walker. Very glad I did too, as it was a fab night with a great buzz.


The second set kicked off with a personal fave, the perennial classic 'Maiden Voyage'. I thought the horn arrangements on this one slightly odd, but it featured a kicking solo from the ever reliable Mr Walker, and got the set off to a driving start. The funky 'Chameleon' was delivered with panache, the dual guitar attack of guitarist Nigel Chadwick and Mike Walker giving the tune a swaggering kick. Nigel treated us to a tasty overdriven solo that Mike picked up and rounded off with gusto. 'Work song' was another hard swinging treat, the rich and punchy horn lines hitting the spot nicely. The dusky tones of vocalist Stephanie Lawrence were a great addition to some vocal led tracks that went down especially well with the club lounge audience I felt.

After the big band set, Nige Chadwick invited us local jazzers to an after hours jam, so I joined in along with Jamie Saffers, Frank Le Bass, Bennet Longman and a few of the horn players fom the big band. It was a tad rough at the edges, a beer or two having dimmed the brain cells somewhat, but I think we knocked out a half decent version of 'All The Things You Are'. All in all it was a great night and I'm sure owner Neil Hughes will have been well chuffed with how it went.

The Andy and Jo Show

I made an all too infrequent trip to the cosy and lightly regal Cinnamon Club lounge bar on Friday 24th October for a second hearing of the Andy Schofield Jo McCallum Jazz Orchestra. The evening gently geared up courtesy of the Jamie Safirrudin Quartet. Their set consisted of bunch of well trodden standards delivered with a youthful vigour often missing from renditions by more seasoned players. An assured 'Canteloupe Island' hit the spot pretty sweetly, and a cruising version of 'Maiden Voyage' maintained it's forward momentum, ably assisted by some fullsome improvising from Jamie on the keys.

The Andy and Jo Jazz Orchestra immediately kicked with a distinctly stronger performance than the previous one at this same venue. There was some powerful and tightly meshed horn line playing on a great version of brother Stuart McCallum's 'Austin Flowers'. The arrangements in general really captured an authentic vintage big band sound as well as any I've personally heard. There was an abundance of cool muted trumpet lines evoking a real forties feel, with the Cinnamon lounge enhancing the ambience.

The band didn't wallow in its nostagic moments though, and confidently sailed us through a fifties'ish 'Round Midnight' with some classic Cizerace Chisnall improv on the piano. Onwards then into the seventies for a Starsky and Hutch like '6.49am'. The impertinent bass honks emanating from the horns of Suzanne Higgins and Sam Andreae were most welcome. Richard Iles' 'Silence Again' sent us home with a suitably local hug.

The Dappled Cat - The Music Place Jazz Summer School 2008

About two weeks ago I once again attended the annual Music Place Jazz Summer School hosted by the kind folk at The Cinnamon Club in Bowdon. It was another exhausting week of scales, arpeggios, triplets, grooves, vibes and mixed emotions. Don't get me wrong, it's a really great week but it can expose the raw side of one's ego when you realise what you (still) can't do, though it's all too easy to forget what you have actually learnt. I have to say I found this year quite a tough one as I wasn't really all that happy with my playing during the week. That's not to say I didn't have a good time and learn a good deal to boot. The evening jam sessions in particular were excellent, being expertly facilitated by Suzanne Higgins.

I had originally made the decision not to attend this year as I went on Mike Walker's fab guitar retreat in Andalucia, Spain. However my other 'arf, Jane has taken up jazz ivory tinkling and decided to do the course this year so I figured I'd go along partly to keep her company. The set up for most days is 'sectionals' in the morning which is based on your instrument, and ensembles in the afternoon roughly grouped by standard. The course tutors this year were Mike Walker (guitar), Iain Dixon (horns), Andy Schofield (horns), Les Chisnall (keys), Caroline Boaden (drums) and Alec Dankworth (bass).

Having been on the summer school before and having had one to one lessons from Mike, I suspected the guitar classes might be going over stuff I'm fairly familiar with but it was a pleasant surprise to find that he took a different tack this year. One thing that's been noticed is that the general standard has improved over the last few years and the bar has definately been raised. In the guitar class everyone had attended the course at least once before so we were able to look at some new areas including the finer subtleties of triplet swing feel. We went into this in quite some detail and it was clear there's a lot to getting this feel spot on. Mike employed the phrase 'Dave the dappled cat' to good effect to help master the timing of the swung '2 and' beat of the charleston groove landing on the word 'cat'.

Some interesting exploration of the melodic minor scale was very welcome too, with it's altered and lydian dominant modes useful over certain applications of dominant chords, and the Hitchcock/Debussy favoured mystical locrian natural two mode. For sure no one was left in any doubt as to how to swing the metronome on the 2 and 4.

There were some great players in my group for the afternoon ensemble sessions. This was good for keeping me on my toes and I was sometimes left for dead if asked to play the melody for a tune. Mike had us running down the 1st, 2nd, 3rd and 5th notes of each chord of 'Solar' [I never got his "they say so-la in Liverpool" joke] and I came up with some particularly tasty 'clams' [= very wrong notes] when forced to improvise just using these notes of the scale. It's surprising sometimes how the slightest rearrangement of a scale or arpeggio brings you to a grinding halt. We did a lot of work on swing feel in the ensemble class as well, alternating between playing all of the '1 and a, 2 and a' triplet beats and then dropping playing but still feeling the 'and's to get the quaver swing feel.

The final evening of the week is always the school concert to which family and friends come. A nervous Jane did really well trading eights and fours on an Abdullah Ibrahim tune in Alec Dankworth's ensemble. In the end I think I chickened out a little by choosing to solo on the straightforward blues of 'Thing's Ain't What They Used To Be' a la BB King. Nevertheless it seemed to go down well so I guess it must have come across OK. The rather shattered tutors then sent us home with some mellow renditions of a few standards. Now it's time to practice...

Raw Power - Manchester Jazz Festival day 7

Back again to some real proper hot sunburny sunshine in St Anns square for day 7, Thursday 24th July. I've only seen Mrs Colombo once before and it was in this exact same spot two years ago. They were one of the better acts that year and I was keen to check them out again. On that occasion the line up included the excellent Sam Smith on piano but he's now based in London I believe and it was left up to the addition of Jo McCallum on sax to help fill the gap. There was interesting material here but the band seemed quite hesitant and the performance lacked a bit of sparkle. The material did also sound quite sparse without the keyboard though guitar player Jim Faulkner did his best to fill the gap. What I think was the newer material worked best, especially 'Vague', a King Crimson style guitar workout not dissimilar to Crimson's 'Ladies of the Road'. The pulled off a passing version of 'Prudence vs Provocation' but again it lacked the piano. Potential here but needs a kick up the proverbial.


My affection for 'The Blessing' is well documented on this blog and tonight at Matt and Phreds they again hit the spot, though I was a bit disappointed that regular drummer Clive Deamer wasn't in attendance. No big deal it turned out as the replacement (didn't catch his name I'm afraid) did a great job with some fab high energy beating of the beats. The raw bass riffing of Jim Barr was even rawer than usual and horn players Pete Judge and Jake McMurchie kept the energy levels high and momentum moving forward apace. If anything it was a sliver of a smidgen too raw, possibly from the extra force coming from the drums but still a great gig and another highlight of the festival.

Frankly Mr Funkly - Manchester Jazz Festival day 6

We were awaken with the mighty funk of the MK-Ultras on the Wednesday morning back in St Anns Square. I've known the guitar player Nick Mellor for a few years now but for some reason this is the first time I've managed to see him play. A great slurry bluesy feel he has too reminiscent of Larry Carlton and John Scofield as outlined on a tasty version of Scofield's 'Do Like Eddie'. Much of the material had a decidedly New Orleans Meters thing going on and I quite enjoyed hearing some no nonsense grooving in the context of the jazz festival. Jonas Backman as always was great on drums and suited this style of playing perfectly. Not surprising as it turns out, as Nick informed me that the funk groove thing is where Mr Backman's true heart lies. Sound and solid stuff too from Chris Cliff on the bass and Nick Steed on the keys and vocals. As slightly odd choice for first act of the day but good stuff nontheless.

It was great to see 'Drumcake' leader and Manchester ex-pat Aaron Liddard back in the city. I've played with Aaron at a few jams going back a few years now down at the Band on the Wall and Arch Bar - both venues sadly closed at the moment though the Band on the Wall should be reopening at some point. This was another intriguing sounding prospect, the band having the two drummers Marc Parnell and Myke Wilson at either side of the stage in victoria sandwich drum cake formation. The cake filling consisted of the cream and fruit of Aaron on sax, Scott Bayliss on trumpet and keys, Stuart McCallum on guitar and Jon Thorne on bass. As promised in the program the set was largely a hard-edged groove based affair with some complex and witty tunes. I think it's fair to say this was a fun outfit with the material not meant to be taken too seriously.

They more or less got away with it but I sensed the outfit had probably had few (if indeed any) rehearsal and it did show in the scrappy delivery. At times the grooves locked and clicked and the music picked up nicely but all too often the momentum was squandered. The intentionally incongruous combination of a super fast drum and bass groove dramatically switching to classic swing and back was knowingly amus(o)ing enough but ultimately dissatisfying. 'Mayhem', the last tune was another complex angular workout that stumbled to halt in confusion. An unfortunate way to end a set that did have some high points.

Electronic Sunshine - Manchester Jazz Festival day 4

I was looking forward to seeing the Arun Ghosh Indo-Jazz Sextet down at Matt and Phreds on the Monday 21st July as soon as I saw the mjf festival program. I caught Arun's fab CD launch gig at the Contact Theatre a few months ago. That one was an amazing gig but this one managed to surpass it.

Arun started the evening with a surging solo improvisation that immediately grabbed the audience's attention and more or less hushed a packed Matt and Phreds, no mean feat and not something I've witnessed before. The band then launched into a punchy and forceful version of 'Aurora', the first track on the new CD and the perfect set opener. Arun really is a captivating and hypnotic performer with real star quality in addition to being a great song composer and lovely improviser on the clarinet. The brooding and intensely epic 'Uterine' was once again a highlight for me with the electronic tanpura accompanied timeless tune leading into a great modal vamp and some ecstatic improvising from Arun and tenor sax player Idris Rahman.

The second set opened with a guest appearance from the omnipresent John Ellis on piano joining in on a simple and expansive South Indian tune that John had introduced to Arun some time ago. Another highlight from the CD was the joyous and life enhancing 'Bondhu' delivered with such swaggering confidence and vigour that by this point the band were so much in the zone they could do no wrong. There were some great moments all through from Kishon Khan on the piano and the rhythm section players Sylvan Richardson on bass, Rastko Rasic on darbuka and Myke Wilson all aquitted themselves admirably.

It was an honour to be a witness at one of the highpoints of this years festival for sure.

Spirit, Form and Frolics - Manchester Jazz Festival day 3

I've never quite managed to get a seat for a Sunday at the festival in the Bridgewater Hall Foyer in previous years so I made it down a good half hour early and still only just managed to get one. It's great to see so much support. As the festival Director Steve Mead said in his introduction to the first band, there was a risk of ODing on jazz today but I figured I'd risk it anyway.

First up was the Gareth Roberts Quintet from Cardiff. Some cool Horace Silvery grooves were mixed with takes on traditional Welsh folksongs amusingly introduced by cheeky chappy trombone playing band leader Gareth. The rhythm partnership of brothers Chris and Mark O'Connor worked really well, the drummer Mark having a pleasing lazy feel exemplifed on the groovy (man) 'Mop Dancing'. The improvisations from Gareth, trumpet player Gethin and piano player Paul were a tad rough at the edges but were made up for by the good feeling the boys were getting across and the strength in the tunes.

The Alcyona Mick Quintet were a different proposition entirely. The material was fast and fullsome from the off. Alcyona is a graduate of the Birmingham Conservatoire and has very impressive technique as do all the players in this group. Most of the tunes were both rhythmically and harmonically complex and frequently delivered at quite a pace too. The music was nevertheless still exciting and accessible and didn't sound academic as can be the danger when students have almost too much technique and knowledge.

By many accounts Free Spirits were the act people to check out in the foyer today and it sounded very promising as I'm quite partial to a bit of indo-jazz as readers of this blog may have spotted. I'm told sitar player Dharambir Singh and tabla player Bhupinder Singh Chaggar are leaders in their field on their respective instruments. I have to confess however that this set left me cold. To my ears the sitar playing was a little unconvincing and lacked ideas, and I didn't get a whole lot from the bass or tablas either. I felt it was left to Lewis Watson on saxophones to give the music a bit more depth and variety and he was doing more interesting stuff harmonically for me at least but the backing only allowed him to go so far.

After a couple of hours break we were in to the double bill of La Gran Descarga and Roberta Fonseca in the Bridgewater main hall. I have a bit of a love hate realtionship with latin jazz so I wasn't sure how I'd take to the evening performances but I was happy to go with an open mind. I'm really glad I did as well as La Gran Descarga put in a great performance and went down really well. This is a big 22 piece band and did they a good job of filling the stage and hall. They cooked up a tasty rhythmic brew with some great horn riffs arrangements from double bass player Matt Owens, some good solos all round with a particularly good solo spot from Neil Yates. Some gusty singing from Kirsty Almeida rounded the whole thing off nicely. Some of the audience were itching to get on their feet and a fair few didn't need asking twice when invited by Kirsty for the last song. Shame they couldn't have asked sooner. A standing ovation from the entire hall made it clear this had been a fab gig. It must be good also for Manchester jazz and the festival. I hope the Bridgewater Hall promoters took note.

Roberta and his group had quite a tough act following the energy and good feeling set up by La Gran Descarga. They did a good job of it on the whole and there was lovely high energy playing but I think I was pretty spent by then. It didn't really sustain it's interest for me for the whole set though there were some great tunes in there and they're clearly a good bunch of players. I think was a bit jazzed out so I need to reserve judgement until I get a chance to listen to some more material.

Phew, so that was Sunday.

La Manca Latino - Manchester Jazz Festival day 2

Blimey, so it's here again already, the thirteenth Manchester Jazz Festival and always the highlight of the Manchester jazz year - where did the year go? I couldn't make the opening Freedom Principle night at trof3 but by all reports the Bits and Pieces big band were especially kicking.

So I made my way down to St Anns Square on Saturday morning for the first full day. The event kicked off handsomely with Suzanne Higgins' 'Bossa Nouvelle'. Some great sunshiney sounds were proferred to fend of the mixed weather, bringing smiles aplenty to the dedicated crowd who refused to budge despite the frequent rainy spells. There were some tasty arrangements of classic latin tunes such as 'How Insensitive' and even a version of the much loved 'Girl from Ipanema' - quite brave I thought. It was good to hear a full band arranged version of this classic that can so easily sound a bit cheesy in it's usual dinner jazz duo setting. I especially liked there closing number that added a bit of a funky edge to the latin flavours and featured a ballsy bluesly solo from ever energetic Mike Walker.

This was swifty followed by the 'John Ellis Band' complete with steel drums from Kenji Fenton taking the uplifting mood set up by Bossa Nouvelle in an African and folky direction. The first track was an extended and quite jolly rolling piece that was enjoyable to begin with, but I was beginning to feel it needed to move somewhere. An irritating headache due to lack of food was doubtless not helping my appreciation though.

I returned after gaining some sustenance hoping to see '12twelve', the final act in the square. Not sure why, but they went on about 40 mins late so I was only able to catch the first track. A shame, as it sounded like it was going to be a good one. Following the great success of last years spanish import, MJF decided to play the same card again in more or less the same slot. It looked to be equally promising, the low strung guitar of Jaime Pantaleón indicating this was going to be a bit different, and the mention of krautrock giving an extra frisson of excitement.

True enough when the first track got going the free jazz and psychedelic elements were immediately present over a cruising swing beat and swaggering bass line from the rhythm section. A nice bit of echo pedal excess from guitarist Jaime reminiscent of Pink Floyd Live at Pompeii was fab to hear in a jazz context. Must check their MySpace me thinks.

Harpin' On

I caught the last set of Matt Halsall's gig last night at Matt and Phreds. It kicked off with a punchy rendition of 'Sending My Love', a tune I particularly like and one of the tracks on Matt's fab new CD of the same name. You can now buy the CD from his also brand new Gondwana Record label. The website shop isn't live yet so you'll need to email the label to get a copy at the moment. The band line up now frequently includes a harp and last night there was some exquisite playing from Rachael Gladwin. She treated us to gorgeous extended solo introduction to the Cinematic Orchestra classic 'Ode to the Big Sea' making for a beautific and rousing end to the set. Some tasty Tranesque playing from sax player Nat Birchall warmed the ol' cockles nicely too.
I also bumped into Manchester Jazz Festival marketing maestro Fanny Guillaut down there, which reminds me I should mention that the full programme for the festival is now listed on the mjf website. I'll do a proper festival preview taster in another post I think. The mjf also has a MySpace page and Facebook group you can join if you prefer these alternative modes of communication. The jazz festival is the highlight of the North West jazz year and is always a brilliant week. I remember chatting to Cinematic Orchestra drummer Luke Flowers last year and he was enthusiastically comparing the festival vibe to what New York must have felt like in the 50s and 60s. I suggest you go study the website this minute and get the festival week (18th to the 26th July) blocked out in your diary right now if it isn't already.

Longsight Calling

I'm late getting this review out but I figured it was well worth as it was such a great gig. Matt Halsall has mentioned a few times to me about Arun Ghosh who has been playing regularly at the Royal Exchange Theatre. I still haven't made it to one of those but I did finally get down to the 'Northern Namaste' album launch gig at the Contact Theatre on the 17th of May. Damn glad I did as well as it was a really phenomenal gig. The band for this one was Arun's Indo-Jazz Sextet. Though I'm no expert, indo-jazz describes the overall sound well but there's a fair mix of different styles in there, much of it in a classic hypnotic modal vein. I particularly liked the track 'Uterine' reminiscent of a great Pharoah Sanders slow modal vamp. Another fave of mine was the CD opener 'Aurora' which is quite a tasty uplifting track that sets the mood and tone for the CD well. You can hear a number of the tracks on Arun's MySpace.

Arun is also visually captivating, swaying back and forth with one foot in front of the other propelling the notes forward with extra momentum. He frequently wanders off mic and out of the light adding a distant backdrop to the soloists. There was some great playing all round from the other players with Led Bib Bass player Liran Donin and keyboard player Kishon Khan standing out. I picked up a copy of the CD afterwards and I can highly recommend it. Buy one now.

Small Objects Moving Very Quickly

So the hot weather has finally returned to this fine city of ours. I spent much of yesterday in the garden working on improvising through 'Autumn in New York'. I rather rashly suggested doing this song for a couple of duo gigs I've got coming up at the Southport Jazz Festival with Hannah Peel at the end of May. The song sounds simple enough on a surface listening but is actually quite complex in places, rapidly shifting between major, harmonic minor and melodic minor keys with a healthy dose of altered 7th chords and a whole bunch of other things going on as well.

The weather and the need to practice (and the thought of an early evening beer in the garden) all made me partially regret having got a ticket to see Bill Bruford and Michiel Borstlap at the RNCM last night. I did however make the effort and it was really worth it. Just before the Bruford gig was an RNCM student showcase of Terry Riley's minimalist masterpiece 'In C'. They started a little tentavively but soon got going and gave a great rendition of the piece which was suitably hypnotic and a good aperitif for the main course.


The Bruford/Borstlap duo immediately hit the spot for me with a great percussive intro instantly characteristic of the Bruford approach and sound, Borstlap drumming along with his fingers on the piano lid. The set was more or less entirely improvised with Borstlap wandering liberally between classic swing jazz sequences, Monkesque jagged blues riffs, Herbie style suspended chord grooves, contemplative nordic introverted sections and a whole lot more. There's just something about Bruford so that is so captivating. He sits more or less bolt upright and the playing is extremely precise but at the same time flows and grooves gorgeously in a way that's quite addictive to listen to. He can get very busy when he wants to but for me he's most engaging when he gets a strong pulse going and throws in his sneaky sporadic sideways jabs and cuts that make the whole thing so exciting. Bruford introduced quite a few of the tracks at length and he does come across just a tad public school pompous but he's interesting none the less so I think he can be forgiven for this.

Overall a really exciting and excellent concert. My only criticism really was that the pianist could have held back a little a times to allow the full Bruford effect to come across but it's a minor point. I hope I get a chance to see these two again and would recommend missing a few hours of rare UK sunshine to see them any day.

The Boy With The Thorne By His Side

I played a Freedom Principle gig down at the Revise Bar in Chorlton last Saturday with Sam Andreae on sax, Fin Panter on drums and late substitute Jon Thorne (Lamb) on double bass - we don't really have a name as yet. It was intended to be a loose low key improv thing with Sam providing us with a few recorded grooves and we just do as we see fit, so we hadn't really rehearsed. We figured as Jon had come in at the last moment however that we better do a few standards so we threw a few in for the first set.

It was a really cool gig and went down really well, even if I do say so myself. The first set was more standards based and had it's moments but I think we really hit the spot in the second set when we went for the groove improv thing big time. There was plenty of intense Miles style Bitches Brew digging in over some jazzy funky grooves from Fin. A take on Bonobo's 'Between the Lines' and a version of the Mr Scruff / Moondog 'Get a Move On' went down particularly well. A somewhat scruffy encore slant on a White Stripes track rounded the set off nicely.

Everyone in the band seems keen so we're intending to take it forward and get some more gigs. Jon promises to bring some effects pedals for the next one so that should be interesting. Thanks to Joe Jones from the Moss Freed Sextet for being especially positive and everyone else who made it down for this first outing. Join the Freedom Principle Facebook group if you want to hear about any future gigs.

A bit of rough and ready video from the gig:

Mike Walker Interview on ALL FM

A world exclusive tonight on mine and Sam Andreae's EXR Jazz Unsigned radio show on ALL FM. We've got guitarist Mike Walker coming in with sax player Iain Dixon. Mike's new and first CD, 'Madhouse and the Whole Thing There' is at last finally completed and will be available soon from Jazz CDs. We'll be interviewing Mike and Iain about the new CD and playing some tracks. This will be the first time any of the material from the CD will have been aired so we're really excited to have this exclusive. Mike is not one short for words and there's quite a story behind the CD so we should be in for an entertaining show.


We'll also be playing tracks from a couple of new Manchester jazz ska bands, Skamel and Baked A La Ska . Like buses these new jazz ska bands. There'll also be the usual listings for the next couple of months and a few previews from the last two.

Listen online or tune in if you can. The show runs from 11pm to 1am tonight.

No Static at All

I'm far too late getting the word out that I'm co-presenting a radio show with Sam Andreae from the RNCM starting tomorrow Monday 25th February on south Manchester's ALL FM 96.9. It's a late one running from 11pm to 1am so I'm not sure how many people will be listening but it should be good fun. It's part of a series of EXR Unsigned shows on ALL FM covering all styles of music. The shows will hopefully be available from the website as a 'listen again' but there's one or two things to sort out before this can happen I believe. Initially it's only going to be every other month so we'll see how it goes.

We'll mainly be playing tracks by unsigned local artists and we'll be getting in some of our local jazz talent for interviews and live sessions. On the first show we'll be interviewing sax player Andy Schofield and pianist Les Chisnall about their fab new CD 'Another Place' just out on the Cinnamon Club's new record label. We'll also be interviewing Anton Hunter about his free improvisation night at Fuel Cafe in Withington, The Noise Upstairs (reviewed below).

So give us a shout if you're doing the jazz thing and have tracks you'd like us to play and/or gigs to mention in our listings section. My EXR email address is ades@exr.org.uk.

Cor Baby That's Really Free

Having promised I would many times, I finally made it down to Anton's free improvisation soirée at Fuel Cafe in Withington last night, The Noise Upstairs - "An evening of uncomposed sounds... combining our backgrounds of jazz, contemporary classical and electro-acoustic music". Good fun it was too with the democratic principle of drawing three names out of a hat to form each improv trio being adhered to.

It was interesting to hear the different 'free' styles. The first trio consisting of a drummer and two saxes was clearly reminscent of classic 1960's free jazz, reminding me a little of the Art Ensemble of Chicago. It was especially effective when the two sax players came together for a long unison note and then drifted microtonally apart giving a bitter tasting atonal whining clash.

The second trio was a cello, violin and a mic'd muted trumpet through a series of multifarious effects units. I'm not at all familiar with classical free improv (any good suggestions?) but this trio again reminded me of stuff I've heard and seen in TV documentaries on people like Stockhausen. Anton joined in for the final ensemble of the evening on mandolin (ok it was a quartet to give everyone a bash). With the addition of violin, french horn (I think!) and electric guitar, much staccato stabs and scratching of bows on the back of violins made for a wholesome aural brew.


I joined in myself (see pic above) for one trio session and had scratch about on a few guitar strings running through buckets of delay and wah wah to create a back wash for my trombone and violin ensemble partners. This went into a heavily delayed Terry Riley'ish arpeggio thing that seemed to go down well with a few folk. Nice evening and highly recommended.