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Sandy Brown Jazz
What's New
February 2025

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A newly discovered album by Ella Fitzgerald is due for release on 28th February. The Moment Of Truth: Ella At The Coliseum was recorded at the Oakland Coliseum on June 30, 1967, and was recently unearthed in the private tape collection of Verve Records founder Norman Granz. 'The album spans nine tracks, most never heard before, and features Ella accompanied by members of The Duke Ellington Orchestra at its prime. Ella  was in the middle of an especially rewarding three-year tour run and recording collaboration with Duke Ellington, and was incorporating hit pop songs of the late-60s into her concert repertoire - two of which are presented here for the first time on record; Alfie and Music To Watch Girls By .... Encouraged by members of The Duke Ellington Orchestra on stage with her, Ella is both playful and powerful - she cracks jokes with the audience before stunning them with her unrivaled voice.' Listen to the title track here. We hope to feature more on the album next month.

 

World Music Showcase July - Applications Invited

The annual World Music Showcase is back for its 3rd edition, and submissions are officially open! Taking place in Sofia, Bulgaria, on July 3rd and 4th, this showcase is an unmissable chance for emerging artists to step into the spotlight. Hosted by one of the most vibrant festivals in the region, A to JazZ invites artists to connect with top industry professionals and join a celebration of global sounds. Applications close on February 16th, 2025, at 23:00 CET. This year, 12 winning bands will be handpicked by an international jury of five music experts. These selected artists will receive a support package including a small travel budget, two nights of hotel accommodation, and access to exclusive networking and mentoring opportunities. Expect speed meetings with festival programmers, bookers, and music journalists from across Europe, plus insightful mentoring sessions and entry to the Music Talks Conference - all while soaking up the festival atmosphere. Details are here.

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New Book - SamBop NYC: Brazilian Jazz in New York City during the New Millennium

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This new book by Marc Gidal was published on the 29th January. "In New York City during the first decades of the new millennium, over two hundred professional musicians play music that combines jazz with Brazilian genres. Blending American and Brazilian music, these musicians continue the legacies of bossa nova, samba jazz, and other styles, while expanding their skills, cultural understandings, and identities. SamBop NYC explores Brazilian jazz in New York City - the music, musicians, cultural issues, and jazz industry. It draws on interviews with over fifty musicians active between the years 2000 and 2020, featuring experts like Eliane Elias, Dom Salvador, Eumir Deodato, Maúcha Adnet, Vinícius Cantuária, Luciana Souza, Duduka Da Fonseca, Romero Lubambo, Anat Cohen, and Cidinho Teixeira. The book provides a new framework to interpret the mutual developments of musicianship, intercultural competencies, and affinities with Brazil and the U.S. ....." There is more information here, where you can also read a sample from the book.

Linley Hamilton MBE

Belfast born jazz trumpeter Dr Linley Hamilton has been awarded an MBE in the King’s New Year Honours list for services to the music industry in Northern Ireland. Linley manages the Magy's Farm venue with Maggie Doyle in County Down - the venue was shortlisted for a Parliamentary Jazz Award in 2023. He teaches music at the University of Ulster and plays regularly with various bands. His album Ginger's Hollow was also released on the Whirlwind label in 2023. Maggie Doyle took a Tea Break with us a couple of years ago that you can read here. Many congratulations to Linley on his award.

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National Kazoo Day

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Founded in 1983 by Chaplin Willard Rahn of the Joyful Noise Kazoo Band, National Kazoo Day in America celebrates the humble kazoo each year on the 28th January. Here is a video of San Francisco Bay Blues with Tracy Newman on kazoo but, although a few days late, we acknowledge the day with Red Mackenzie on kazoo with the Mound City Blues Blowers in 1929 and I Ain't Got Nobody and My Gal Sal  here - yes, that's Josh Billings on the suitcase.

The Year Of Women In Jazz

The organisation 'Women In Jazz' has announced the launch of ‘The Year of Women In Jazz’, "a transformative 12-month programme that brings together new music, live performances, talks and mentorship to highlight the incredible talent within the Women In Jazz community." At the core of the initiative is the release of 12 singles throughout the year, in collaboration with London-based record label New Soil and Marathon Music Group. These tracks, performed and produced by artists from the Women in Jazz network, will showcase the incredible talent and diverse sounds of UK jazz and beyond. Throughout the year, each artist will receive support from Women in Jazz, including mentoring, studio time, and live performance opportunities. At the time of writing, the Women In  Jazz website (here) is rather short on details of activities during the year (perhaps one needs to sign up for membership?), but the site does feature music from the 'artist of the month'.

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Video Juke Box

Juke Box

Click on the pictures to watch the videos..... or take pot luck and click on the picture of the Juke Box and see what comes up. 

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Guitarist Rob Luft and vocalist Elina Duni  perform Charlie Haden and Abbey Lincoln's First Song in Basel last October with Matthieu Michel (flugelhorn); Patrice Moret (double bass) and  Viktor Filipovski (drums). Dates for Rob's upcoming gigs are here and Elina's here.

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This is an imaginative session from Erroll Garner in 1964 playing Spring Is Here and Lover with a few quotes by Oscar of other tunes along the way.

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Here is vocalist and guitarist Ponpon Chen from Taiwan with How High The Moon. Yes, it might reflect Ella's version, but is worth hearing in its own right. Here is an interview with Ponpon Chen.

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Bass player Misha Mullov-Abbado's group introduce their new enjoyable album Effra in this video. The album is in this month's Recent Releases and Howard Lawes talks to Misha in an article here. Dates for Misha's upcoming gigs are here.

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In this video from 1953 the Benny Goodman Trio plays Nice Work If You Can Get It  (Gene Krupa was 44, Teddy Wilson was 40, and Benny Goodman 43 - whatever the fans were saying!)

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Recently, former American  President Jimmy Carter passed through the Departure Lounge. (December 2024) He carried the nickname 'The Rock and Roll President' but he supported many forms of American music as can be seen from this video of the White House Jazz Festival that he staged in 1978. The reference in Salt Peanuts is to his family's peanut-growing business.

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Here is an introductory video from the highly respected Scottish  guitarist Jim Mullen about his latest album For Heaven's Sake featuring Ben Paterson (organ); Jan Harbeck (tenor sax) and Kristian Leth (drums) - See Recent Releases

The Story Is Told

The Trouble With Sponsors

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Artie Shaw and his Band

'There was another incident, which occurred during the rehearsal of one of the big cigarette programs - a program which is on the air to this day, with exactly the same formula as at that time, some eighteen or nineteen years ago.

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One of the arrangements called for a sixteen-bar ad lib clarinet solo. When we got to it I went into a cautious, radiolized kind of improvisation - almost straight melody, except for a little twist here and there to give the illusion of jazz phrasing.

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Suddenly we were interrupted by that same Voice of God roaring from the control booth. (It's remarkable, by the way, how similar people's voices can sound when they are distorted by these loudspeakers.)

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"What's the idea?"

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"What idea?" the conductor asked, after stopping the orchestra.

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"How many men are playing in that spot?"

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"Just solo clarinet and rhythm section - five men altogether. Just for that sixteen-bar spot," said the conductor.

 

Silence. Conference in the control room. Then - "No good," the loudspeaker rasped. "The sponsor's paying for thirty-five men, and thirty-five men are what he wants to hear."

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"But you can't play ensemble all the time," said the bewildered conductor.

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"The sponsor doesn't care about that - he's paying for a full orchestra and he doesn't want to hear five men. Fill it in."

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"But -" and the conductor subsided.

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By the time we went on air that night, it had been "filled in" and this time the whole orchestra was playing ensemble throughout. I assume the sponsor was happy.

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As a result of this sort of thing, the musicians working in radio those days were some of the most cynical people I have ever known anywhere. Most of them - as indeed they had to be to get into this kind of work to begin with - fine musicians. Among them were .....Tommy Dorsey, Jimmy Dorsey, Benny Goodman, Bunny Berigan, Manny Klein ..... the pick of the jazz musicians in the country ......'

 

From The Trouble With Cinderella by Artie Shaw (1952) - Limited availability.

Anagram

ABLE  LIFE  WIRE

(Frank Loesser song from Guys and Dolls)

The answer is HERE

 

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Time Out Ten
Walk Between (The) Raindrops

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For this item you need to be able to stop for ten minutes.

 

We are often moving on to the next job, the next meeting, scrolling down social media, taking the next call ......'Time Out Ten' asks you to stop for ten minutes and listen to a particular piece of music; to find a time when you won't be interrupted, when you can put in/on your headphones and chill out. Ten minutes isn't long.

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Today, here's a tasty treat for a toe-tapping time out ten.

A shadow crossed the blue Miami sky
As we hit the causeway by the big hotels
We fought
Now I can't remember why
After all the words were said and tears were gone
We vowed we'd never say goodbye

 

When we kissed we could hear the sound of thunder
As we watched the regulars rush the big hotels
We kissed again as the showers swept the Florida shore
You opened your umbrella
But we walked between the raindrops back to your door
Oh Miami!


In my dreams I can hear the sound of thunder
I can see the causeway by the big hotels

That happy day we'll find each other on that Florida shore
You'll open your umbrella

And we'll walk between the raindrops back to your door

Walk Between (The) Raindrops originated in the album The Nightfly by Donald Fagan. (The word 'The' doesn't appear in the track listing, but it does in the lyrics). Steely Dan is an American rock band band formed in 1971 by Walter Becker (guitars, bass, backing vocals) and Donald Fagan (keyboards, lead vocals). As Wikipedia says: "Their first album, Can't Buy A Thrill, established a template for their career, blending elements of rock, Jazz, Latin music, R&B, Blues and sophisticated studio production with cryptic and ironic lyrics". The jazz influence has been well recognised. Duke Ellington and Bubber Miley's East St Louis Toodle-Oo was included in the album Pretzel Logic and  the album Aja featured a range of jazz musicians including saxophonist Wayne Shorter. Steely Dan disbanded in June 1981but reunited in 1993. In the interim, Donald Fagan made two solo albums The Nightfly and Kamakiriad although Walter Becker  produced the latter album. Walter sadly died in 2017.

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The Nightfly introduced a number of popular tracks of which Walk Between (The) Raindrops is one. Within our ten minutes time out we can firstly listen to Donald Fagan's version here.

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We can now squeeze in a video of the song where one of the UK's favourite jazz vocalists, Liane Carroll, joins Northampton's Jazz Colossus Big Band (Facebook). Once again it illustrates how many good big bands there are around the UK.​

Did You Know?
Mildred Bailey and Al Rinker

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Mildred Bailey

Jazz and Blues singer Mildred Bailey was Native American. Her mother Josephine was a member of the Coeur d'Alene people. Her great-grandfather, Bazil Peone, was a head speaker and song leader of the Coeur d'Alene at the turn of the 20th century. His ability to create indigenized Catholic hymns helped guide the tribe during difficult times of active colonization by Jesuit missionaries. Mildred's father played fiddle and called square dances. Her mother played piano every evening and taught Mildred to play and sing. Mildred's younger brothers included Miles, Al and Charles.

 

The family moved to Spokane, Washington when Mildred was thirteen. At seventeen, Mildred moved to Seattle and worked as a sheet music demonstrator at  Woolworth's. She toured with a West Coast revue, worked at a radio station and a speakeasy in Bakersfield. By this time she had married twice. Once to Ted Bailey, whose name she kept, and then to Benny Stafford who helped her to become an established blues and jazz singer on the west coast of the United States. Mildred's original family name was Rinker. Wikipedia gives Mildred's birth date as February 1907 and Al Rinker's as December 1907 - the two were clearly close in age.

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Listen to Mildred singing Rockin' Chair in 1937 here.

 

Harry Lillis 'Bing' Crosby was born in 1903, four years earlier than Al and in 1907, Bing's family also moved to Spokane. In 1923, Bing joined a new band composed of high-school students a few years younger than himself and led by Al Rinker. The band broke up after two years and Bing and Al obtained work at the Clemmer Theatre in Spokane, often with three other musicians and with Al accompanying on piano from the pit.

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In October 1925, Bing and Al decided to seek fame in California. They travelled to Los Angeles, where Mildred  introduced them to her show business contacts. After various engagements, Bing and Al were spotted by someone from Paul Whiteman's organisation. "Hired for $150 a week in 1926, they debuted with Whiteman on December 6 at the Tivoli Theatre in Chicago. Their first recording, in October 1926, was "I've Got the Girl" with Don Clark's Orchestra, but the Columbia-issued record was inadvertently recorded at a slow speed, which increased the singers' pitch when played at 78 rpm. Whiteman considered letting them go. However, the addition of a pianist and aspiring songwriter, Harry Barris made the difference, and (Paul Whiteman's) Rhythm Boys were born. The additional voice also meant they could be heard more easily in large New York theaters."

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Here is a clip of the Rhythm Boys from the 1930 movie The King Of Jazz.

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Bing returned Mildred's earlier support by introducing her to Paul Whitemen and Mildred sang with Whiteman's band from 1929 to 1933 when she left as a result of salary disagreements. Bing's own dissatisfaction with Whiteman led to the Rhythm Boys leaving and joining Gus Arnheim's Orchestra. But Bing's popularity eventually encouraged him to go solo and so The Rhythm Boys disbanded. Al Rinker went on to write songs including You Can't Do Wrong Doin' Right and Everybody Wants to Be a Cat  for Disney's animated children's movie The Aristocrats). Al died in1982 at the age of 74.

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Mildred went on singing and recording with various famous jazz bands and musicians including Benny Goodman, the Dorsey Brothers and Red Norvo (who she married), but she suffered from diabetes, was hospitalized in 1938, 1943, and 1949, and retired for a time in 1949 on a farm she owned in Poughkeepsie, New York. "Often in financial difficulties, she was bailed out several times by Bing Crosby". She died of heart failure in hospital in1951 at the age of 44.

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Al Rinker and Bing Crosby

Here is a video of Al Rinker talking about Bing Crosby and the Rhythm Boys.

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You can read more detail in Wikipedia here (Mildred Bailey : Al Rinker : Bing Crosby) and elsewhere.​

Tea Break

A series where musicians and others stop by for an imaginary Tea Break to talk about their music and projects.

Henrik Jensen

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Jazz double bass player Henrik Jensen came  to the UK from Denmark in 1997. He first came to London to study electric bass at The Musicians Institute but his passion really is the double bass and went on to study at London's Royal Acadeny of Music. Since then he has settled in the UK with his family and has become much in demand with many bands locally to his home in the west country and both nationally and internationally. He works with notable artists such as Iain Ballamy, Gareth Williams, John Law, Michael Blake, and Gene Calderazzo and he has featured on various albums, including Steve Banks Emboldend,  John Law’s  Many Moons and Joy Ellis’s Peaceful Place. Henrik has recorded and toured with The Puppini Sisters since 2008 and he was part of the New Simplicity Trio whose album Common Spaces was released in 2017.

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In his most recent venture, Henrik has a project that has brought his composition and playing skills into focus in the company of Danish pianist Esben Tjalve and UK drummer Dave Smith. Their 2024 album Above Your House  creates an atmosphere that is both introspective and engaging. This will be Henrik's fourth album as leader; It follows on from Qualia (2013), Blackwater (2016)  Affinity (2020) all with his quartet Followed By Thirteen. Writing in The Guardian, John Fordham said about Blackwater "Jensen is thoughtful, richly chordal and attractively Charlie Haden-like on the bass solo Lullaby for the Little One." This is brief track but gives us an introduction to Henrik's playing:​

Henrik's new trio album Above Your House marks the welcome return of releases by the Babel label after four years. Started by Oliver Weindling in 1994 the label has been responsible for releases by many key jazz musicians including Steve and Julian Argüelles, Christine Tobin, Billy Jenkins, Polar Bear, Sam Leak, Orphy Robinson, and the Portico Quartet. Above Your House is a sign of more good things to look forward to.

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Opening with Blow Ins, bass and drums lay down a solid foundation for Esben's piano before Henrik's bass comes forward in the mix and piano and bass develop the theme. Brian Brexit  (not 'Brain Brexit' as some links show) changes the pace with a captivating bass solo from Henrik and then from Esben. The listener begins to appreciate the fine way all three musicians meld together and with track 3, The Hunt, that interplay becomes one of the features of the album - (listen to it here).  Intro , a bass solo by Henrik (just like the Lullaby above) is brief at just over a minute and is followed by The Bridge. The trio works well together here and in particular Dave Smith's drums interact really well with Esben's piano explorations. And so to the title track, Above Your House (more of that later) before another very brief bass solo Intro takes us into the closing track Last Of The Dags., a light, relaxing way of leaving a satisfying, accomplished session. It is definitely an album that benefits from more than one hearing.

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I met up with Henrik for a tea break in his busy schedule:​

Hi Henrik, I think this café is quite good, there is a corner over there where you can stand your bass and we can chat. What can I get you – tea, coffee or something else?

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Hi Ian, coffee please. 

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Milk and sugar?

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No, I’ll just have it black please. 

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You seem to be quite busy with gigs at the moment. Does it feel that way to you? Where have you been playing?

 

Yes, it is really busy at the moment, but all with interesting projects and lovely people.  I've mainly been gigging in the UK with a couple of gigs in Europe. 

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I guess the release of your new album helps. By the way, I wanted to ask why you called it ‘Above Your House’, it seems a strange title? 

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Good question? We moved from London to Frome in 2020 with our son Aksel. I was in our garden on a clear night looking up at his room where he was sleeping, and I had this good feeling about our move to the west country (my wife is from the west country) and the night sky above his new house looked magical and I felt excited for his future under this skyline. 

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That’s a really nice story. We can get a taste of the title track with a glimpse of Aurélie Freoua painting the album artwork:

The other track with an uncommon name is ‘Last Of The Dags’ – what is a dag? Is that a Danish word?

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Ha! Ha! No, it's not Danish! This composition I started writing just before we moved away from Dagenham (DAGS) in London, so just a little farewell to the old. 

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I like that. I have a regular correspondent to the website who signs himself 'Dagenham Dave' I must tell him about the track. I also like the artwork for the album by Aurélie Freoua. I see that this time she has produced different artwork for each track. How do you know Aurélie?

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I met Aurelie in 2019 through Oliver Weindling. She also created the artwork for my previous album Affinity.

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Your link to Oliver has been good in so many ways. It is great that Above Your House is the first album to be released by Oliver’s Babel label after they took a break. 

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Do you have a favourite track on the album and can you tell me why you like it?

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I don't really have a favourite track, for me it's more like certain moments in the individual tracks where something unexpected happens and it takes the music somewhere different. I like the intro we do to The Hunt and the 'cruising' moment between the bass solo and piano solo on Brian Brexit.

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The Hunt is a fine track - Let's take a listen, there's only that other couple in the café at the moment and they are right next to the coffee machine:

Where Am I Going?

Hi Honey. I have arranged a taxi to take us at about 8.30 pm tomorrow night. If we can get there earlier, or on time, baby, we can catch the band when they begin. I’m really looking forward to dancing the two-step with you, especially to those blues by that Jelly Roll Morton chap. Oh, and I bought some new clothes so I can look a smash with those you wear. Oh baby, we’ll so sway the night away.

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Click on the picture for the answer

Two Ears, Three Eyes

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After his accident last autumn that put his photographic skills in the long grass (at a jazz club, not on his favourite golf course), photographer Brian O'Connor LRPS from Images of Jazz was back in action during January at East Grinstead Jazz Club where saxophonist Hannah Horton was playing. Hannah, (tenor and baritone sax) was in the company of Adrian York (piano); Marianne Windham (bass) and Vince Dunn (drums). Graham Thomas, who accompanied Brian, describes the event:

 

"Hannah mostly played her own original compositions during the set, revealing a gift for writing catchy and accessible tunes, often featuring a strong rhythmic element.  She also had an engaging personality, chatting with the audience and giving us the story behind the inspiration for each of her tunes. She started with Surfing Thermals, a minor-key Latin tune inspired by seeing buzzards in flight above her home. This featured an insistent drum pattern played with mallets by Vince Dunn, and an appropriately soaring solo from Hannah on tenor.

 

On the haunting waltz Frozen Light, she demonstrated her powerful yet lyrical sound on the baritone sax (using a new instrument given to her by the Selmer company). Escape (all about holidays in hot countries) featured a relaxed, swinging melody with a unison baritone and bass line, and could easily have come from the pen of Gerry Mulligan. Remembering Mr. Gone was an affecting tribute to Wayne Shorter, with some unusual twists and turns, no doubt inspired by the great man himself. Hannah’s other tunes were in turn funky, swinging or latin/samba influenced.

 

Pianist Adrian York proved his adaptability to all these styles, providing excellent accompaniment and exciting solos.  Marianne Windham supplied solid bass lines and melodic solos, while Vince Dunn expertly covered all the different rhythmic approaches required. The set also featured a few tunes by other composers, including Sea Journey (Chick Corea), Pure Imagination (Bricusse/Newley), and Las Vegas Tango (Gil Evans). Hannah ended the gig with a familiar tune, a fast version of Duke Ellington’s Caravan, earning a great reception from the audience."

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Hannah Horton's website is here with details of upcoming gigs and videos of her music.

Take Two
God Only Knows

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The Beach Boys 1966 album Pet Sounds, received a luke warm reception in the United States when it was released, but in the UK it was praised by critics for its ambitious production, sophisticated music, and emotional lyrics. It is now considered to be among the greatest and most influential albums in popular music history. Credit for the album lies almost entirely with the vision of Brian Wilson, the singer/sonwriter who founded the Beach Boys. "Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His best-known work is distinguished for its high production values, complex harmonies and orchestrations, layered vocals, and introspective or ingenuous themes." (Wikipedia). The track God Only Knows is an acknowledged example of his inspiration.

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Here is part of a documentary about the recording of the tune (Part 2 is here):

Here is a video of the Beach Boys singing the completed song live in 1966.

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The Huntertones is a Brooklyn-based band in America and they give us our first jazz take on Brian Wilson's tune. The video is from 2017 and features: Jon Lampley (trumpet); Dan White (saxophone); Chris Ott (trombone); Adam DeAscentis (bass); John Hubbell (drums) and Justin Stanton (keyboard):

Our second take is a video from the North Sea Jazz Festival featuring: Oz Noy (guitars); Jimmy Haslip (bass); Gary Husband (drums) and Scott Kinsey (keyboards)

Guitarist Oz Noy was born in Israel and 'started his professional career at the age of 13 playing jazz, blues, pop and rock music. By age 16, he was playing with top Israeli musicians and artists. By age 24, he was one of the most established studio guitar players in the country. Oz was also a member of the house band on Israel’s top-rated television show for more than two years'. He moved to New York in 1996 since when 'he has made a huge impact on the local and international music scene. His unique and intoxicating style has broken all the rules of instrumental guitar music by focusing on the groove'. God Only Knows appears on his 2019 album Booga Looga Loo.​

Oz Noy

Misha Mullov-Abbado
 Effra
by Howard Lawes

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The cosmopolitan area of Brixton in south London, renowned for its music and markets, has been home for the jazz bassist Misha Mullov-Abbado for several years and his new album, entitled Effra after a small river that flows beneath the streets, is inspired by his time living there. Talking over Zoom he explained the background to his music and his life in Brixton.

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The son of the pre-eminent Italian conductor Claudio Abbado and the phenomenal Russian violinist Viktoria Mullova, the young Misha lived with his mother in London and listened to classical music almost every day. His cellist stepfather, Matthew Barley, intoduced both Viktoria and Misha to other styles of music including jazz, which Misha embraced rather more enthusiastically than did his mother. Misha studied music at school and attended the Royal College of Music Junior Department on Saturdays, and as so often happens with aspiring, young musicians made life-long friends.

 

At this stage he was playing piano and french horn, but the lightbulb moment happened as he experimented with some pop-songs on a bass guitar. As an undergraduate Misha studied music at Cambridge and came to love composition, inprovisation and the warm, deep notes of a double bass. Postgraduate studies at the Royal Academy of Music followed and in 2014 Misha won the Kenny Wheeler prize (for excellence in performance and composition) and The Musician’s Company Dankworth prize (for big band composition). These prizes and the associated opportunity to release an album on Edition Records proved to be the springboard for Misha’s career that has blossomed ever since.

 

Misha has released three albums with Edition - New Ansonia (2015); Cross-Platform Interchange (2017); and Dream Circus (2020), but for Effra he has chosen to release the album through Ubuntu Music. Effra was released on 31st January, but the period leading up to this date has been an emotional roller-coaster for Misha with the birth of his daughter Orla and then the death of Ubuntu Music founder and director Martin Hummel.  Misha has turned to social media to publish first the announcement of the birth or Orla and then a heartfelt tribute to Martin Hummel, expressing his gratitude for the help and guidance Martin and his associates were able to provide.

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Here is an introduction to Effra.

Apart from the Misha Mullov-Abbado group some of Misha’s other projects include a trio with Alica Zawadzki and Fred Thomas that has just released a widely acclaimed album of world music called Za Górami ); a band called Songs for the Earth that includes his wife Bridget on violin, Music We Love which is a duo with his mother; and the very popular Dave O’Higgins and Rob Luft Quintet - listen to Misha's solo on Ballad For Barry  (here) from their album Pluto. ​

 

Misha also plays in the Brixton Chamber Orchestra, a versatile group of instrumentalists that provides thrilling live orchestral experiences for wide-ranging audiences in Brixton and beyond.

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With himself on double bass, the Misha Mullov-Abbado Group, which has retained the same personnel for nine years is James Davison (trumpet & flugelhorn), Matthew Herd (alto & tenor saxophones), Sam Rapley (tenor saxophone & bass clarinet), Liam Dunachie (piano) and Scott Chapman (drums).

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The music on Effra explores Misha’s journey through life that has included the COVID pandemic, his marriage to Bridget and leading up to the birth of their daugther. These are his compositions and reflect the highs and lows of living in a place that he has grown to love and a community that he has become a part of. One aspect of living in London that everyone can identify with is tube travel and the first track on the album, Traintracker, is a musical representation of the hustle and bustle and the inter-connectivity of the whole system. Misha reveals a facination with metro networks to the extent that he owns a live, electronic wall-map of the London Underground system.

 

The next two tracks are called Bridge and Rose after Misha’s wife, the first a romantic waltz while the second is a tender piece that reverses the roles of the rhythm section and the front line and was written to celebrate their engagement. The irony of the next track, The Effra Parade, is that while it sounds like a New Orleans street party, during COVID lockdowns socialising with others was forbidden and a solitary walk, perhaps up and down the rather unassuming street of the same name, was all that was available.

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Here is a video of the band playing Bridge at London's Pizza Express in 2023.

The Jazz Quiz

Easy As A,B,C?

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This month we give you 15 quiz questions each with the option of three answers.
Is it as easy as A, B, C.? I guess it depends on whether you can pick the correct answer!

The February Jazz Quiz is

HERE

Lens America

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Journalist/guitarist Filipe Freitas and photographer Clara Pereira run JazzTrail in New York City. They feature album and concert coverage, press releases and press kits, album covers and biographies. They are valued contacts for Sandy Brown Jazz in the United States.  You can read Filipe's reviews of album releases here and see Clara's gallery of pictures here.

Clara Pereira took this picture of pianist Edward Simon when he was playing with the San Francison Jazz Collective at New York's Jazz Standard Club. Edward plays on a recently released album, ​Three Visitors, with Scott Colley (bass) and Brian Blade (drums) and various guest musicians. Filipe Freitas writes: "This newly formed trio, co-led by bassist Scott Colley, pianist Edward Simon, and drummer Brian Blade - all celebrated for their fresh approaches to music - achieves remarkable cohesion in its honest explorations, demonstrating that the distinctive musical voices of its members make a strong whole ... Simon’s “You Are” (listen here) is impeccably essayed by the trio, further enriched by Chris Potter’s vibrant tenor saxophone improvisation, Jana Dagdagan’s self-reflective spoken word, and charming string accents ....Throughout the album, Colley, Simon, and Blade demonstrate an indissoluble musical bond. Yet, their effort satisfies without creating a major impact."

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Edward Simon was born in Punta Cardon, Venezuela. In 1979. When he was ten years old, he went to the United States of America to study at the Performing Arts School in Philadelphia. After graduating, he attended the University of the Arts in Philadelphia, where he studied classical piano, then the Manhattan School of Music, where he studied jazz piano. Since then Edward has played and recorded with many of America's top jazz musicians and bands.

 

Detais of the album Three Visitors and a link to samples of the tracks are here. Edward Simon's website is here.

Jazz Remembered
Johnny Richardson

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In January, clarinettist Pete Neighbour told us of the passing of drummer John (Johnny, Johnnie) Richardson on the 29th December 2024. Pete wrote: “One of the lesser acknowledged realities of being a jazz musician is that if you have been a performer and passionate about the music from a young age (say, mid teens) then, you will, at that impressionable age, have been meeting, working and socializing with people often 20, 30 or even 40 years older than yourself; yet often very quickly being treated as an equal by the very people that you are looking up to. These people, as we start out in the business, some of us in leaps and bounds, some of us with baby steps, are absolutely fundamental for the encouragement, belief and guidance of us as our younger selves. Today, I learnt of the death of a gentleman who, in my early days , was one of those mentors for me. Leaving aside, for the moment, his musical abilities, John...or Johnnie...or Johnny... Richardson was a somewhat unusual character in British jazz. Firstly, he was, for many years ‘semi-pro’; that somewhat dreadful phrase which, to many people, conjures up a mediocre musician who plays one or two nights a week for ‘fun’, expenses, or a minimal fee. John was the ideal example to firmly dismiss those analogies. Secondly, JR (as I always knew and called him..) seemed to defy stylistic ‘pigeon holing’ in that although he would, by some folk, forever be associated with the likes of Acker Bilk, Terry Lightfoot, Alan Elsdon et al..... he would be constantly leading rhythm sections from the drums encouraging younger more ‘modern’ or ‘mainstream’ players at various venues throughout London and the South East.”

 

John Otto Richardson was born in  Kilburn, London on the 8th August 1932. According to John Chilton’s Who’s Who Of British Jazz Johnny took drum lessons as a teenager from Jack Greenwood and Freddy Leeding. After serving his apprenticeship in the jewellery trade he completed his National Service in the Royal Air Force where he played in jam sessions with Terry Lightfoot. After his time in the RAF Johnny joined Terry Lightfoot’s band and took further tuition from drummer Phil Seaman. He left Terry a year later and joined Alex Welsh in 1957, staying with Alex until he went back to Terry’s band in 1960.

 

Here is Terry Lightfoot’s band from the 1962 film It’s Trad Dad with A Tavern In The Town :

With a brief spell working with Bob Wallis Johnny worked with Terry Lightfoot until 1968 and for a year worked with Dave Shepherd’s Quintet, the Brian Lemon Trio and led his own band. In 1969, Johnny joined Acker Bilk, playing with Acker’s band until 1972 when he joined the Freddy Randall-Dave Shepherd band for a year.’

 

Here is Johnny with Freddy Randall (trumpet), Dave Shepherd (clarinet), Brian Lemon (piano), George Chisholm (trombone) and Ken Baldock (bass) playing Sweet Georgia Brown:

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‘Johnny was also manager of the Drum City shop in London but through the 1970s he led his own band at the Tally Ho! Pub in London; played with Stan Greig’s Trio; Ron Russell’s band; John Picard’s Sextet and Bob Bryan. He accompanied many visiting American musicians including Wild Bill Davison; Billy Butterfield and Teddy Wilson. From September 1980 Johnny was in Five-a-Slide through to the 1990’s and freelanced with many other bands including those of Roger Nobes; Alan Elsdon and Neville Dickie.’

 

Over the years Johnny accompanied many visiting American musicians including Wild Bill Davison; Billy Butterfield and Teddy Wilson. Here is a video of Johnny with Teddy Wilson (piano), Stephane Grappelli (violin) and Mike Durrell (bass) playing Tangerine at Ronnie Scott’s club in 1969 :

​Pete Neighbour continues: “Standing at the bar (where it was invariably difficult to repay his generous hospitality) he was as comfortable speaking of his love of, for example, Chick Corea, Herbie Hancock, Art Pepper, Victor Feldman, Monty Alexander or George Coleman (and particularly his love and respect of the great Phil Seaman) as he would be talking about Kenny Ball or Acker Bilk. He was also consistently in demand backing visiting US guest artists often touring with them in Britain and Europe. This made his experience and knowledge invaluable to a young upstart such as myself.”

 

“I truly don’t recall when we first met - but JR is one of those guys I feel I’ve known forever. He used to run a Friday night session at the Tufnell Park Tavern in North London. He would always feature outstanding musicians. I recall playing there with, amongst others, Mick Pyne, Len Skeat, John Barnes, Bill Le Sage, Terry Davis, Colin Purbrook and endless other older, vastly experienced guys. It was also a place where I often first met and worked with people of my own generation that it is still my pleasure and privilege to call my friends now: Andy Cleyndert, Alan Barnes, Julian Stringle to name but three. In a nutshell, JR swung like the proverbial clappers. He seemed to have an innate ability to liven up any rhythm section he was part of. He didn’t suffer fools gladly; he was prone to ‘speak his mind’, he could, by today’s standards, be seen as not ‘politically correct’. All that said, I can’t think of a fellow musician that I’d rather hang with, play with, travel with or learn from; all of which I’m privileged to have experienced. I grew to love JR as I love my own family. JR introduced me to his wife, Mo, of whom I became equally fond.”

 

“In latter years we didn’t see so much of each other; we went our separate ways musically - but very happily - and then I ended up moving across the pond here to the U.S. On one of my visits back, in March 2019, we caught up for lunch. Whilst now showing signs that he was weak and struggling he retained his incredible sense of humour and personality. I last saw him in his care home with Mo and Julian Stringle in April 2024. He was still cracking jokes! He recently celebrated his 92nd birthday with Mo and his family celebrating with him.”

 

Pete Neighbour concludes: “JR ... I feel I owe you so much yet can repay you so little. I thank you for your musicianship and experience - but even more for your guidance and friendship. JR ... you’ve finally managed to achieve what you would so often shout - usually very loudly from behind the drum kit just as the last number was about to be performed on any gig in which you were involved (be it a concert, a jazz club or a function type gig…) “False tab, Queen and home ...” As you would have said ... “He’s gone and turned his toes up ...” RIP my friend.”

"I Really Want To ...."
by Matt Fripp of Jazzfuel

Jazzfuel.jpg

Matt Fripp set up his own music agency and website, Jazzfuel, in 2016, since when he has established a client base across many countries. Although born in the UK, Matt is currently based with his family in Paris, France, but the international aspects of his work make little difference to his location. What is different about Matt and Jazzfuel is the information that he shares publicly on his website. Matt has kindly agreed to share some of his thoughts as an agent with us from time to time:

"I really want to play at your festival..."

"We'd be interested in coming to your club..."

​

This is the general message of so many pitching emails I see musicians send. It's honest, but it's not at all persuasive for the reader, because ... Everyone who gets in touch wants to play their festival!

 

For 2025, why not flip it on its head and show why they should be interested in having you play? It's a really easy fix which will set you apart from many of your colleagues

​

Option #1: Style? "I saw you booked the killer Joe Bloggs project last year; we play a similar style of jazz so I thought it might also be something your audience were into..."

​

Option #2: Profile? "Following the recent release of our album which was described by Jazzwise as ["insert quote here"], we thought you might be interested in checking out..."

 

Option #3: Relevance? "Ahead of our 2025 tour which will be passing through [Germany] during your festival period..."

 

If you don't already address at least one of those three points in every gig pitch, give it a go!

 

You can find more gig booking guides and articles for free here.

Matt Fripp 5.jpg

All the best.

​

Matt

Forum

Bill Brunskill

Bill Brunskill.jpg

Our thanks to Marcus Holt who writes to tell us that the 1984 documentary Whatever Happened To Bill Brunskill is now available on YouTube here. At just under an hour long, George Melly narrates this film about trumpet/cornet player Bill Brunskill. You will also find an article for Sandy Brown Jazz by Don Coe about Bill Brunskill here.

AI and Copyright

Chris Hodgkins writes that musicians' (and others') intellectual property rights "are at risk of being undermined to the benefit of generative artificial intelligence (AI) companies." Chris points out that consultation is currently taking place - until the 25th February and urges people to write to their MP on the issue. "The creative industries thrive on the power of imaginative minds to tell stories through music, film, imagery and art, all underpinned by copyright protections. However, certain generative AI developers are calling on the UK government to weaken copyright protections, threatening creatives’ livelihoods" Chris says. Information on the issue is in a briefing paper from UK Music here and a statement from PRS For Music here.

AI Music and Copyright.jpg

The Family Hall

Our 'Jazz Remembered' feature about trumpeter Albert Hall (here) mentioned that Albert's family were / are very involved in music, his brother Cliff playing piano with The Shadows, for example. Amanda Hall has seen the article and writes about another of Albert's brothers, her father, Henry: "Hello I was reading your article on Albert Hall Remembered and his brothers. My father was Henry Hall who sadly passed in 2011 he was a trumpet player and played the tenor horn in the British Airways Band for many years. Henry was also a trumpet player in the The Royal Airforce Western Band and he played in the Queens 1953 Coronation. After serving several years in the military he was medically discharged with a severe injury to his leg which affected him for the rest of his life. I miss my dad and uncles a lot. My grandad Gilbert Hall was a musician too and became a music teacher in a school. This was where my dad and his brothers learnt to play in Brass Bands in the 1930s with their father."

Departure Lounge

Information has arrived about the following musicians or people connected to jazz who have passed through the 'Departure Lounge' since our last update.


When this page first started, links to newspaper obituaries were free. Then increasingly advertisements were added and now many newspapers ask for a subscription to read a full obituary. Where possible, we initially link to a Wikipedia page which is still free of charge, but we also give links to newspaper obituaries in case you want to read them.

Dizzy Jackson
Dizzy Jackson Portrait.jpg

Scottish bass player born in 1932 in Edinburgh. Charles 'Dizzy' Jackson was an early member of the Sandy Brown Jazz band. Like Sandy, Al Fairweather and others, he went to Edinburgh's Royal High School where he was given the nickname 'Dizzy' because he could waggle his ears. He played with Sandy's band until 1954 when Sandy moved to London. Dizzy remained living and teaching in Edinburgh and went on playing with local bands. He became a headteacher at a Primary school in Edinburgh until he retired in 1997. Dizzy passed through the Departure Lounge at the end of November 2024. We shall write more about him in our next issue.

Martin Hummel
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Born in New Jersey in 1955, Martin Hummel came to the UK where he founded the Ubuntu Music record label in 2015. Since then the label has featured many successful jazz albums and Martin had become a popular and supportive member of the jazz community. In 2018, Martin joined me for one of our Tea Breaks (here) where he shared wide information about his story. (I will update the item and include it in the next issue of What's New). As others have said, Martin continued to support this website over the years and he will be sadly missed. Martin passed through the Departure Lounge on the 10th January after a battle with cancer.  Obituaries : Jazzwise :

Johnny Richardson
Johnny Richardson.jpg

UK drummer John (Johnny, Johnnie) Richardson was born in Kilburn, London in 1932. After serving his apprenticeship in the jewellery trade Johnny completed his National Service in the Royal Air Force where he played in jam sessions with Terry Lightfoot. After his time in the RAF Johnny joined Terry Lightfoot’s band and then joined Alex Welsh in 1957, staying with Alex until he went back to Terry’s band in 1960. After a brief spell working with Bob Wallis Johnny returned to Terry Lightfoot until 1968 and then worked with Dave Shepherd’s Quintet, the Brian Lemon Trio and led his own band. In 1969, Johnny joined Acker Bilk, playing with Acker’s band until 1972 when he joined the Freddy Randall-Dave Shepherd band for a year. Over the years Johnny accompanied many visiting American musicians including Wild Bill Davison; Billy Butterfield and Teddy Wilson but in later years he moved to a care home. Clarinettist Pete Neighbour, who last saw him in 2024, has told us of the passing of Johnny on the 29th December 2024. A Sandy Brown Jazz article remembering Johnny Richardson is here.

Laurie Holloway
Laurie Holloway.jpg

Laurie Holloway M.B.E. was a UK pianist, composer and arranger born in Oldham in 1938. He probably became best known for leading bands on the TV shows Parkinson and Strictly Come Dancing, but his jazz links began when he became musical director for the  Cleo Laine, which soon led to him joining the John Dankworth's Band as pianist and arranger. He worked with Dankworth on the 1967 album The $1,000,000,000 Collection and on subsequent Dankworth albums. He worked with numerous artists from a variety of genres over the years including Stephane Grappelli, Sammy Davis Jr and Mel Torme. Laurie was married to the singer Marion Montgomery who died in 2002. Laurie passed through the Departure Lounge on the 9th January 2025. Obituaries: Wikipedia : The Guardian : BBC News :

Recent Releases

A few words about recent releases / reviews:

Apart from where they are included in articles on this website, I don't have a 'Reviews' section for a number of reasons:

 

  • I receive so many requests to review recordings it is impossible to include them all.

  • Unlike some publications/blogs, Sandy Brown Jazz is not a funded website and it is not possible to pay reviewers.

  • Reviews tend to be personal opinions, something a reviewer likes might not suit you, or vice versa.

  • It is difficult to capture music in words, so much better to be able to listen and see whether the music interests you.


For these reasons in particular I just include a selection of recent recordings below where I share the notes issued by the musician(s) as an introduction and links to samples so you can 'taste' the music for yourselves. For those who like to read reviews, these, of course, can be checked out on other sites.

Some Recent Releases

You will find the Recent Releases page HERE Where you can scroll down and see the featured releases. Included this month are:

UK

America

Europe and Elsewhere

Reissues

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