ORPHY ROBINSON

NINA SIMONE - "Freedom" Interview

2012-01-03T01:48:00.000Z

Nina Simone interview on the state of civil rights '85

2012-01-03T01:43:00.000Z

Curtis Mayfield - We People Who Are Darker Than Blue (Live) HQ

2012-01-03T00:05:00.000Z

And so to the end of 2011

2011-12-09T15:09:00.007Z

It's been a while since I posted anything on the blog.Due to Touring commitments and other pressing issues that have kept me busy over the last couple of months.

During September there couldn't have been many people familiar with the UK Jazz scene, that had failed to notice the amount of dialogue that was taking place regarding issues of Racism from some Uk Black Jazz musicians. These were mainly but not exclusively taking place online in a group on the social networking site facebook called "When are we going to see more Black Uk Jazz artists on UK Jazz stages". set up by a fictitious avatar using the name "Dave Monk" in fact the group became quickly known as the "Dave Monk group" with quite a few anonymous characters debating back and forth on what ever statement had been posted in the group that day.In no time at all the group became the focal point for many on facebook. attracting a worldwide membership and readership on the net with many well known artists reading and in some cases contributing to the discussions.Some online media outlets in North America also covered the debates.

The announcement of the return of "The Jazz Warriors" happen to coincide with some of those discussions as it was seen that some of the same circumstances that had brought into existence "The Jazz Warriors" in the 1980s were still causing an imbalance on the UK Jazz scene. Various questions were being asked in the Facebook group that seemed to cause all kinds of vexed responses from musicians,punters and lunatics alike.In some cases it was hard to see were some of those who were instantly dismissing any talk of work imbalances were actually getting their evidence from to back up their arguments, particularly when some were using as their evidence the last time they had seen a Black Uk Jazz Musician working, this in some instances meant they would use the presence of a well known Jam session in the centre of town compered by a Black musician as their example of a fair distribution of work!!

Some had never ever even stood on a stage with a UK black jazz musician or had ever been party to any of the decision making process when the very employment opportunities that Black Uk Jazz musicians were being kept away were being distributed, however they felt qualified to speak out because they "Had to" as everything was rosy through their own multicoloured spectacles. therefore this particular Facebook group was dangerous and "rocking the boat" creating divisions by pointing out divisions!!

Fortunately some of the issues that were now being brought up were now being looked at by key decision makers, who had now realised to their credit in some cases that work disparities did in fact exist and in other cases issues were now being brought to the attention of funders,venues,promoters for the first time who where neither aware that an imbalance existed or that ill feeling and suspicion had been directed towards them in anyway. All this through the furore of the group exchanges between musicians and non musicians alike. Some of the disparities will hopefully be addressed in the new year.

The return of the Jazz Warriors also brought a few misinformed efforts at criticism through knee jerk journalism by a few bloggers with their own particular agendas but in some cases when those very same people were crying out about "Tribalism" and "Divisions" in the Uk Jazz scene, they didn't exactly cover themselves in glory as in their own particular track record and on closer inspection they had also failed to show a fair and balanced approach to diversity.an example being one such blogger musician who had been putting on concerts for some time himself leaving an historic record trail on the internet of only ever booking one Black Uk Jazz musician in more than a year of running his own events and then only as a guest of somebody else..Therefore while attacking online the musicians who had spoken out about the issues that affected them and others he himself was guilty of doing exactly the same thing with the woeful lack of diversity shown in his own booking policy, it does make you take with a pinch of salt his particular outpourings while adding the words "bandwagon" and "jumping" into the mix.

Looking back at some of the statements made by people who were very vocal in expressing their own opinions on how integrated the UK Jazz scene has always been historically its obvious that misinformation and denial have been best friends for a very long time.

Some musicians who had been quite vocal in denying that any imbalance or issues existed in public have privately away from the spotlight of the facebook group, agreed with most of things that had been said,in some cases recounting incidents of racial bias that they had witnessed but adding that by the group highlighting things in this way it could cause more divisions so for the sake of maintaining harmony and for some gaining future employment they would prefer to stay anonymous!

Personally I feel that anyone who chooses not to book an artists now for expressing their opinion on these issues probably didn't book them before for some other dubious reason!

There has already been positive outcomes for some Black Uk Jazz musicians who have been approached about bookings in the latter part of this year at venues that had previously displayed a distinct lack of diversity in their bookings policy. Some it has been noted are feverishly & cleverly loading their schedules to deflect any criticism. However the internet can leave an interesting historic trail and so it has been relatively easy to look at where they were this time last year in relation to where they are this year.so that anyone wishing to follow their progress can.

What next, we will have to watch some of the main movers and shakers on the scene next year,especially as now it's not only musicians and the public but funders who are paying attention.

I hope to personally address here on the blog some of the issues raised in the group or in a few interviews earmarked for the New year regarding venues,Promoters,record companies,Education establishments as well as take a look at some of the incredible behaviour from musicians and non musicians that we all witnessed around the groups discussion!

Nina Simone - Funkier Than a Mosquito's Tweeter

2011-10-05T17:25:00.000+01:00

Nina Simone Mood Indigo

2011-10-05T17:23:00.000+01:00

Miles Davis a candid conversation with the jazz world's premier iconoclast

2011-06-22T09:01:00.003+01:00

September 1962
"I don't pay no attention to what critics say about me, the good or the bad. The toughest critic I got is myself...and I'm too vain to play anything I think is bad."

"In high school I was best in music class on the trumpet, but the prizes went to the boys with blue eyes. I made up my mind to outdo anybody white on my horn."

"I don't dig people in clubs who don't pay the musicians respect. You ever see anybody bugging the classical musicians when they are on the job and trying to work?"

The technical and emotional brilliance of the trumpet played by Miles Davis has made him one of the most provocative influences in modern jazz. We spent two days with Miles not long ago in his rather unusual five-story home, a converted Russian Orthodox Church on West 77th Street near the Hudson River in New York City. Miles was between gigs at the time and we accompanied him on his restless daily home routine, asking questions at propitious moments while he worked out in his basement gymnasium, made veal chops Italian style for his family, took telephone calls from fellow musicians, his lawyer and stockbroker, gave boxing lessons to his three sons, watched TV, plucked out beginner's chords on a guitar and, of course, blew one of his two Martin trumpets, running up and down the chromatic scale with searing speed.

Spending time with Miles in the refuge of his own home, and seeing him surrounded by the activities and people he loves, it was hard to reconcile this reality with his sometimes flinty and truculent public posture. It was on this facet of his personality that we first queried him.

PLAYBOY: Linked with your musical renown is your reputation for bad temper and rudeness to your audiences. Would you comment?

DAVIS: Why is it that people just have to have so much to say about me? It bugs me because I'm not that important. Some critic that didn't have nothing else to do started this crap about I don't announce numbers, I don't look at the audience, I don't bow or talk to people, I walk off the stage, and all that.
Look, man, all I am is a trumpet player. I only can do one thing -- play my horn -- and that's what's at the bottom of the whole mess. I ain't no entertainer, and ain't trying to be one. I am one thing, a musician. Most of what's said about me is lies in the first place. Everything I do, I got a reason.
The reason I don't announce numbers is because it's not until the last instant I decide what's maybe the best thing to play next. Besides, if people don't recognize a number when we play it, what difference does it make?

Why I sometimes walk off the stand is because when it's somebody else's turn to solo, I ain't going to just stand up there and be detracting from him. What am I going to stand up there for? I ain't no model, and I don't sing or dance, and I damn sure ain't no Uncle Tom just to be up there grinning. Sometimes I go over by the piano or the drums and listen to what they're doing. But if I don't want to do that, I go in the wings and listen to the whole band until it's the next turn for my horn.

Then they claim I ignore the audience while I'm playing. Man, when I'm working, I know the people are out there. But when I'm playing, I'm worrying about making my horn sound right.
And they bitch that I won't talk to people when we go off after a set. That's a damn lie. I talk plenty of times if everything's going like it ought to and I feel right. But if I got my mind on something about my band or something else, well, hell, no, I don't want to talk. When I'm working I'm concentrating. I bet you if I was a doctor sewing on some son of a bitch's heart, they wouldn't want me to talk.

Anybody wants to believe all this crap they hear about me, it's their problem, not mine. Because, look, man, I like people. I love people! I'm not going around telling everybody that. I try to say that my way -- with my horn. Look, when I was a boy, 10 years old, I got a paper route and it got bigger than I could handle because my customers liked me so much. I just delivered papers the best I could and minded my business, the same way I play my horn now. But a lot of the people I meet now make me sick.

PLAYBOY: What types of people do you find especially irritating?

DAVIS : Well, these people that's always coming up bugging me until they get me to act like this crap they heard. They ask you things, you say what you think, and if it ain't what they want to hear, then something's wrong with you and they go away mad and think you don't like them. I bet I have had that happen 500 times. In this last club I played, this newspaper reporter kept after me when I told him I didn't have no more to say. He wasn't satisfied with that. After the next set, he come up again, either drunk or playing drunk, and shoved into me. I told him to get the hell out of my way, and then he was fine -- he went right out and wrote that. But he didn't tell how it happened.

And I'm mad every time I run into the Jim Crow scene, I don't care what form it takes. You can't hardly play anywhere you don't run into some of these cats full of prejudice. I don't know how many I've told, "Look, you want me to talk to you and you're prejudiced against me and all that. Why'n't you go on back where you're sitting and be prejudiced by yourself and leave me alone?" I have enough problems without trying to make them feel better. Then they go off and join the rest saying I'm such a big bastard.

I've got no plans of changing what I think. I don't dig people in clubs who don't pay the musicians respect. The average jazz musician today, if he's making it, is just as trained as classical musicians. You ever see anybody go up bugging the classical musicians when they are on the job and trying to work?
Even in jazz -- you look at the white bandleaders -- if they don't want anybody messing with them when they are working, you don't hear anybody squawking. It's just if a Negro is involved that there's something wrong with him. My troubles started when I learned to play the trumpet and hadn't learned to dance.

PLAYBOY: You feel that the complaints about you are because of your race?

DAVIS : I know damn well a lot of it is race. White people have certain things they expect from Negro musicians -- just like they've got labels for the whole Negro race. It goes clear back to the slavery days. That was when Uncle Tomming got started because white people demanded it. Every little black child grew up seeing that getting along with white people meant grinning and acting clowns. It helped white people to feel easy about what they had done, and were doing, to Negroes, and that's carried right on over to now. You bring it down to musicians, they want you to not only play your instrument, but to entertain them, too, with grinning and dancing.

PLAYBOY: Generally speaking, what are your feelings with regard to race?

DAVIS : I hate to talk about what I think of the mess because my friends are all colors. When I say that some of my best friends are white, I sure ain't lying. The only white people I don't like are the prejudiced white people. Those the shoe don't fit, well, they don't wear it. I don't like the white people that show me they can't understand that not just the Negroes, but the Chinese and Puerto Ricans and any other races that ain't white, should be given dignity and respect like everybody else.

But let me straighten you -- I ain't saying I think all Negroes are the salt of the earth. It's plenty of Negroes I can't stand, too. Especially those that act like they think white people want them to. They bug me worse than Uncle Toms.

But prejudiced white people can't see any of the other races as just individual people. If a white man robs a bank, it's just a man robbed a bank. But if a Negro or a Puerto Rican does it, it's them awful Negroes or Puerto Ricans. Hardly anybody not white hasn't suffered from some of white people's labels. It used to be said that all Negroes were shiftless and happy-go-lucky and lazy.

But that's been proved a lie so much that now the label is that what Negroes want integration for is so they can sleep in the bed with white people. It's another damn lie. All Negroes want is to be free to do in this country just like anybody else.

Prejudiced white people ask one another, "Would you want your sister to marry a Negro?" It's a jive question to ask in the first place -- as if white women stand around helpless if some Negro wants to drag one off to a preacher. It makes me sick to hear that. A Negro just might not want your sister.

The Negro is always to blame if some white woman decides she wants him. But it's all right that ever since slavery, white men been having Negro women. Every Negro you see that ain't black, that's what's happened somewhere in his background. The slaves they brought here were all black.

What makes me mad about these labels for Negroes is that very few white people really know what Negroes really feel like. A lot of white people have never even been in the company of an intelligent Negro. But you can hardly meet a white person, especially a white man, that don't think he's qualified to tell you all about Negroes.

You know the story the minute you meet some white cat and he comes off with a big show that he's with you. It's 10,000 things you can talk about, but the only thing he can think of is some other Negro he's such close friends with. Intelligent Negroes are sick of hearing this. I don't know how many times different whites have started talking, telling me they was raised up with a Negro boy. But I ain't found one yet that knows whatever happened to that boy after they grew up.

PLAYBOY: Did you grow up with any white boys?

DAVIS : I didn't grow up with any, not as friends, to speak of. But I went to school with some. In high school, I was the best in the music class on the trumpet. I knew it and all the rest knew it -- but all the contest first prizes went to the boys with blue eyes. It made me so mad I made up my mind to outdo anybody white on my horn. If I hadn't met that prejudice, I probably wouldn't have had as much drive in my work. I have thought about that a lot. I have thought that prejudice and curiosity have been responsible for what I have done in music.

PLAYBOY: What was the role of the curiosity?

DAVIS : I mean I always had a curiosity about trying new things in music. A new sound, another way to do something -- things like that. But man, look, you know one of the biggest things that needs straightening up? The whole communication system of this country! Take the movies and TV. How many times do you see anybody in the films but white people? You don't dig? Look, the next movie or TV you see, you count how many Negroes or any other race but white that you see. But you walk around in any city, you see the other races -- I mean, in life they are part of the scene. But in the films supposed to represent this country, they ain't there. You won't hardly even see any in the street crowd scenes -- because the studios didn't bother to hire any as extras.

Negroes used to be servants and Uncle Toms in the movies. But so much stink was raised until they quit that. Now you do have some Negroes playing feature parts -- maybe four or five a year. Most of the time, they have a role that's special so it won't offend nobody -- then it's a big production made like that picture is going to prove our democracy. Look, I ain't saying that people making films are prejudiced.

I can't say what I don't know. But I see the films they make, and I know they don't think about the trouble a lot of colored people find with the movies and TV.
A big TV network wanted to do a show featuring me. I said no, and they asked me to just look at a show featuring a big-name Negro singer. No, I ain't calling no names. Well, just like I knew, they had 18 girls dancing for the background -- and every one of them was white.

Later on, when I pointed this out to the TV people, they were shocked. They said they just hadn't thought about that. I said I knew they hadn't. Nobody seems to think much about the colored people and the Chinese and Puerto Ricans and Japanese that watch TV and buy the things they advertise. All these races want to see some of their own people represented in the shows -- I mean, besides the big stars. I know I'd feel better to see some kids of all races dancing and acting on shows than I would feel about myself up there playing a horn. The only thing that makes me any different from them is I was lucky.

This black-white business is ticklish to try to explain. You don't want to see Negroes every time you click on your set. That would be just as bad as now when you don't see nobody but white people. But if movies and TV are supposed to reflect this country, and this country's supposed to be democratic, then why don't they do it? Let's see all kinds of people dancing and acting. I see all kinds of kids downtown at the schools of dancing and acting, but from what I see in the movies and TV, it's just the white ones that are getting any work.

Look, man, right in music you got the same thing happening. I got this album, "Someday My Prince Will Come," and you know who's on the jacket cover? My wife -- Frances. I just got to thinking that as many record albums as Negroes buy, I hadn't ever seen a Negro girl on a major album cover unless she was the artist. There wasn't any harm meant -- they just automatically thought about a white model and ordered one. It was my album and I'm Frances' prince, so I suggested they use her for a model, and they did it.

But it ain't all cases where white people just didn't think about the other races. It's a lot of intended discrimination, right in music. You got plenty of places that either won't hire Negroes, or they hire just one that they point out. The network studios, the Broadway pit bands, the classical orchestras, the film studios, they all have color discrimination in hiring.
I tell you why I feel so strong about the communication system. I never have forgotten one time in Europe this nice old man told me how in World War II, the Europeans didn't know what to make of Negro troops.

They had their picture of this country from our magazines and movies, and with a very few exceptions like Pops Armstrong and Joe Louis and Jesse Owens, they didn't know about any Negroes except servants and laborers.

PLAYBOY: Do you feel that your views are shared by most Negroes? And Puerto Ricans? And Orientals?

DAVIS : I can't speak for them last two. I'm in no position, I just know what I personally feel for them. But I know that pretty nearly all Negroes hardly have any other choice about how they feel. They ain't blind. They got to see what's happening. It's a thousand big and little ways that you run into the prejudices of white people. Just one thing -- how long have Negroes been looking at immigrants coming into this country and can't even speak the language, and in the second generations, they are in places the Negroes haven't got to yet.

Look, not long ago this big magazine had this Southern truck driver saying he'd carry sandwiches if they let Negroes eat in them Maryland highway restaurants. But where he wants to eat ain't my point -- I'm talking about what he said. He said, "You give them a finger, they take an arm" and a lot more. You dig? When it comes to human rights, these prejudiced white people keep on acting like they own the damn franchise! And, man, with the world in the mess it's in now, we trying to influence on our side all them Africans and Arabs and Indians and Chinese...You know two thirds of the people in the world ain't white? They see all this crap with Negroes and supposed to feel white people really think any different about them? Man, somebody better get straight!

Another thing -- there was no upset about them restaurants not serving Negroes, until it was an African they turned away. You think every Negro in the country don't see what it says? It says that we been here 400 years, but it wasn't no mess until they put out an African that just flew over here on a jet.

PLAYBOY: Do you, in your position as a famous Negro, meet prejudice?

DAVIS : I told you, someway or other, every Negro meets it, I don't care who he is! Look, man, I sent for an electrician to fix something in the house. When he rang the bell, I answered and he looked at me like I was dirt, and said, "I want to see the owner, Mr. Davis." When I said, "You looking at him," the cat turned beet red. He had me figured as the porter. Now he's mad and embarrassed. What had I done to him but called to give him work?

That same week, I had seen a lot of them West Point cadets, and in a bar I asked why there was so many of them in town. Man, I just asked the cat a question and he moved up the bar and didn't speak! But then somebody recognized me and he got red as that electrician. He came trying to apologize and saying he had my records. I told him I had just paid enough taxes to cover his free ride at West Point, and I walked out. I guess he's somewhere now with the others saying I'm such a bastard. It bugged me so, man, I wasn't worth a damn for two or three days. It wasn't just him ignoring me I was thinking about, but in two or three years, Gregory, my oldest boy, may be doing some Army time. How am I supposed to feel about him maybe serving under this cat?

Then take this tour I made -- Frances and I had train reservations to California. But this clerk I showed my identification to, he took it and looked at me just like the West Point cat. When he said he had to check with somebody else, I asked him what was the trouble. You know he had the nerve to tell me I might have forged it! Ain't no need of me telling you what I told him, nobody would print it. But we went to the airport and took a plane. I'm spending my money, the railroads are broke, even this son of a bitch's job's in trouble, but all he can see is I'm black, so it's all right to insult me. Bad as I hate to fly, I ain't been on a train since, because I haven't met Jim Crow on the airlines.

PLAYBOY: In your field, music, don't some Negro jazzmen discriminate against white musicians?

DAVIS : Crow Jim is what they call that. Yeah. It's a lot of the Negro musicians mad because most of the best-paying jobs go to the white musicians playing what the Negroes created. But I don't go for this, because I think prejudice one way is just as bad as the other way. I wouldn't have no other arranger but Gil Evans -- we couldn't be much closer if he was my brother. And I remember one time when I hired Lee Konitz, some colored cats bitched a lot about me hiring an ofay in my band when Negroes didn't have work. I said if a cat could play like Lee, I would hire him, I didn't give a damn if he was green and had red breath.

PLAYBOY: Do you find that being the head of your band adds to your problems?

DAVIS : Fronting a band ain't no fun. A lot of people don't understand that music is business, it's hard work and a big responsibility. I hate to even think what all I've been through to play my horn, and still go through. I put everything I've got into it. Even after a good rehearsal, I feel empty.

And you add to playing your instrument the running of a band and you got plenty of problems. I got my own family, and the guys that work for me, and their families to think about. On one tour, I had this white woman in Kansas City meet me when I came off the stand and wanted me to come to her table with her and her husband for a drink. I told her I didn't like to do that, and she hollered, "They said you're like that!" I felt like throwing down my horn and kicking it.

But I said to myself I was going to try and educate at least that one couple. So I went over and talked to them.
I told them an artist's first responsibility was to himself. I said if he kept getting upset with what other people think he ought to do, he never would get too far, or he sure wouldn't last. I tried to make them see how I had worked all my life to play myself and then to get a band worth people paying to hear. I said that a lot of times when people in a club wanted to talk to me, I needed to be worrying about something about my band. They said they understood. I hope they did.

PLAYBOY: You have been quoted as not being in favor of jazz concerts. Why?

DAVIS : Nobody can relax at concerts, the musicians or the people, either. You can't do nothing but sit down, you can't move around, you can't have a drink. A musician has to be able to let loose everything in him to reach the people. If the musician can't relax, how's he going to make the people feel what he feels? The whole scene of jazz is feeling.

PLAYBOY: Do you now ever indulge in jam sessions?

DAVIS : I wish there was some jam sessions to sit in. But there ain't none left -- at least not in the big cities. I used to sit in some great ones around St. Louis and in Brooklyn, Illinois. We would blow sometimes clear up until the next afternoon. When I go back there now, I sit in with a little blues band. They have the feeling.

PLAYBOY: You've won all the trumpet polls. After yourself, how would you rank others?

DAVIS: After me! Hell, it's plenty great trumpet players don't come after me, or after nobody else! That's what I hate so about critics -- how they are always comparing artists...always writing that one's better than another one. Ten men can have spent all their lives learning technical expertness on their instruments, but just like in any art, one will play one style and the rest nine other ways. And if some critics just don't happen to like a man's style, they will knock the artist. That bugs the hell out of musicians. It's made some damn near mad enough to want to hang up their horns.

Trumpet players, like anybody else, are individualized by their different ideas and styles. The thing to judge in any jazz artist is does the man project, and does he have ideas. You take Dizzy -- he does, all the time, every time he picks up his horn. Some more cats -- Clark Terry, Ray Nance, Kenny Dorham, Roy Eldridge, Harold Baker, Freddie Hubbard, Lee Morgan, Bobby Hackett -- a lot of them. Hell, that cat down in New Orleans, Al Hirt, he blows his ass off, too!

PLAYBOY: Is there any special reason you didn't mention Louis Armstrong?

DAVIS : Oh, Pops? No, why I didn't mention him is because I was talking just about modern-jazz players. I love Pops, I love the way he sings, the way he plays -- everything he does, except when he says something against modern-jazz music. He ought to realize that he was a pioneer, too.

No, he wasn't an influence of mine, and I've had very little direct contact with Pops. A long time ago, I was at Bop City, and he came in and told me he liked my playing. I don't know if he would even remember it, but I remember how good I felt to have him say it. People really dig Pops like I do myself. He does a good job overseas with his personality. But they ought to send him down South for goodwill. They need goodwill worse in Georgia and Alabama and Mississippi than they do in Europe.

PLAYBOY: To go back a moment, you expressed a sharp dislike of critics. Are there other reasons besides their comparing musicians?

DAVIS : Well, aside from that, I get sick of how a lot of them write whole columns and pages of big words and still ain't saying nothing. If you have spent your life getting to know your business and the other cats in it, and what they are doing, then you know if a critic knows what he's talking about. Most of the time they don't.
I don't pay no attention to what critics say about me, the good or the bad. The toughest critic I got, and the only one I worry about, is myself. My music has got to get past me and I'm too vain to play anything I think is bad.
No, I ain't going to name critics I don't like. But I will tell you some that I respect what they write -- Nat Hentoff, Ralph Gleason and Leonard Feather. And some others, I can't right off think of their names. But it ain't a long list.

PLAYBOY: Are there any particular places or clubs that you don't like to play?

DAVIS : There are plenty I won't play! I won't take a booking nowhere in the South. I told you I just can't stand Jim Crow, so I ain't going down there in it. There's enough of it here in the North, but at least you have the support of some laws.

I won't play nowhere I know has the kind of audiences that you waste your breath to play for. I'm talking about them expense-account ofays that use music as a background for getting high and trying to show off to the women they brought. They ain't come to hear good music. They don't even know how to enjoy themselves. They drink too much, they get loud, they got to be seen and heard. They'll jump up and dance jigs and sing. They ain't got no manners -- don't pay their women no respect.

What they really want is some Uncle Tom entertainment if it's a Negro group on the stand. These are the kind will holler, "Hey, boy, play "Sweet Georgia Brown!" You supposed to grin and play that. I hate to play in a place full of those kind of squares so bad that if there wasn't nobody else to play to, I'd invest in some more property and just stay home and collect rents. I can't stand dumb-ass people not respecting the other customers that have come to hear the music. Sometimes one table like that has bugged me so that when I get home or to my hotel, I walk the floor because I can't sleep.

I told you I ain't going to play nowhere in the South that Negroes can't come. But I ain't going to play nowhere in the North that Negroes don't come. It's one of two reasons they won't, either because they know they ain't wanted, or because they don't like the joint's regular run of music. Negroes ain't got as much money to throw away in night clubs as white people. So a club that Negroes patronize, you can figure that everybody that goes there comes expecting to hear good music.

PLAYBOY: What is your opinion of the jazz audiences in Europe?

DAVIS : European audiences are generally more hip about the background of jazz than most of the fans here. Some cats hardly heard of here are big record sellers in Europe. In this country, it's more following of personalities. You want to hear something funny? One club-owner friend of mine said a lot of people pay their money to come where I'm playing just because they want to see me -- they heard I'm so bad. Ain't that a bitch?
But this country has a lot of great fans. You know, they appreciate what you're trying to do, and that inspires a musician to give his best. I know some Americans that don't stop with just knowing jazz, but that even think just like musicians.

PLAYBOY: Do you plan another European tour soon?

DAVIS : Maybe. I like to play in Europe every now and then, but I don't like to spend no more time out of this house than I can help. Jack Whittemore, my booking agent at Shaw Artists, schedules me so I don't stay long on the road. I like to have time at home to be with my kids and Frances, and to just think about things -- like worrying about the people running this government maybe slipping and getting us into another war. But I like them Kennedy brothers -- they're swinging people.

PLAYBOY: Would it please you if the image of you changed, that people quit regarding you as a tough guy?

DAVIS : Well, nobody wants to be always accused of something he ain't done. But people that want to think that, it's their worry, it ain't mine. I'm like I am, and I ain't planning to change. I ain't scared of nothing or nobody, I already been through too much. I ought to be dead from just what I went through when I was on dope. I ain't going around anywhere trying to be tough and a racist. I just say what I think, and that bugs people, especially a lot of white people. When they look in my eyes and don't see no fear, they know it's a draw.

PLAYBOY: Have you always been so sensitive about being a Negro?

DAVIS : About the first thing I can remember as a little boy was a white man running me down a street hollering "Nigger! Nigger!" My father went hunting him with a shotgun. Being sensitive and having race pride has been in my family since slave days. The slave Davises played classical string music on the plantations. My father, Miles the first, was born six years after the Emancipation. He wanted to play music, but my grandfather wanted him to be more than an entertainer for white folks. He made him go to Northwestern to be a dental surgeon. My father is worth more than I am. He's a high-priced dental surgeon with more practice than he can handle -- because he's good at his business -- and he raises hogs with pedigrees. It's a special breed of hogs with some funny name I would tell you, but I never can remember it.

PLAYBOY: You're said to be one of the financially best-off popular musicians. Is this correct?

DAVIS : Well, I don't have any access to other musicians' bank books. But I never have been what you would call poor. I grew up with an allowance, and I had a big newspaper route. I saved most of what I made except for buying records. But when I first left home as a musician, I used to spend all I made, and when I went on dope, I got in debt. But after I got enough sense to kick the habit, I started to make more than I needed to spend unless I was crazy or something.

Now I got a pretty good portfolio of stock investments, and I got this house -- it's worth into six figures, including everything in it. My four kids are coming up fine. When the boys get in from school, I want you to see them working out on the bags in our gym downstairs. I keep myself in shape and teach the kids how to box. They can handle themselves. Ain't nothing better that a father can pass along.

Then I got my music, I got Frances, and my Ferrari -- and our friends. I got everything a man could want -- if it just wasn't for this prejudice crap. It ain't that I'm mad at white people, I just see what I see and I know what's happening. I am going to speak my mind about anything that drags me about this Jim Crow scene. This whole prejudice mess is something you would feel so good if it could just be got rid of, like a big sore eating inside of your belly.
http://www.erenkrantz.com/Music/MilesDavisInterview.shtml

Hackney College Music Night 6th July 2011

2011-06-17T14:05:00.053+01:00

Super trendy Hackney College started a College Alumni & Friends group late last year, that has gained a lot of interest in a short amount of time,The Alumni are currently putting together a music night event that I will be appearing at with the Nu Savanna band on Wednesday 6th July. The Music night event has managed to attract some fantastic artists spanning the generations who have come forward to kindly donate their time & skills to help get the Alumni kick started around the College and into the wider community. The idea is to attract ex College members to become members of the Alumni. The Alumni intends to organise with the College regular events to include seminars and workshops led by ex members,with expertise in a wide range of fields.To include mentoring current and future students.

Over the years Hackney College has had some great characters attend the many courses offered of which many past students have gone on to have very successful careers in a wide cross section of industries. I attended Hackney college in the late 1970s a couple of years after the infamous Sex Pistol Johnny Rotten who it turned out was taught by the same Government & Politics tutor as myself Miss Della Bishop..I was asked to help organise and get in touch with Artists who might want to contribute to such an event night and future events..

On the night we have Mizz Camara a young female singer songwriter who has been attracting a lot of interest from those in the know.

Himal a very talented up and coming Singer songwriter who has had a recent surge of interest because of a popular youtube video where he performs a neat rendition of a current chart hit "I need a dollar".

Adisa the "Verbaliser" is really an established Spoken word artist at the top of his game who has forged a career as a one of the most in demand & Socially aware Poets on the London scene as well as one of the most talented,A great personality and a big presence..

Dj Leah is another up & coming Artist creating waves at the moment anattractina good reception where ever she has performed.

Dajla Lalia is a young lady from France who has a new album that has been getting a lot of favourable Airplay on the radio and big compliments from everyone who has seen her stunning live performances. I was fortunate to recently hear an unplugged session on the radio that was quite something.

Dj Leah Logan delivers a cutting edge fusion of music styles that captures the essence of urban culture. She has presented on radio stations like Choice fm and is currently hosting ‘The Urban Mixup show’ on "Premier Gospel" She is known for an eclectic mix of sounds that reflect her passion for promoting new talent and bringing cultures and people together through a fusion of the universal language of music.

"Urban Deep" have a loyal following in Europe with the two leaders Dj Nookie and Ryan Daniels constantly scoring dancefloor goodness in abundance. A cracking stylish band who will not disappoint with their tight funky and deep eclectic grooves,they are currently working on a new studio album so who knows we might be treated to a sneak preview of some of that material.Dj Nookie is also solo Artist in his own right and a well known remixer and producer..

My own new funk band "Nu Savanna" will also be performing on the night, we are really looking forward to showcasing some of the band material and connecting with a new audience especially with our upcoming show at the Hackney Empire a fortnight later.

Here are some links and further information on the Artists appearing at the Hackney College Music night!

Mizz Camara

Camara Fearon also known as Mizz Camara is a 15 year old singer, song writer, musician, actress, mentor andpresenter. She appeared on the Hackney Empire stage at the tender age of ten years old. She is a gifted musician who plays the piano, trumpet and saxophone. She is one of a string of fantastic new young talents on the music scene and recently worked with Guy Chambers (Robbie Williams co-writer) on one of her composition, Stand up my People. She performed at the Salute to the Wailers at Hammersmith Apollo in October 2010, and appeared at the Royal Albert Hall in November 2010. She is also winner of a Spirit of London Awards 2010 for Achievement Through Music, and performed at the Trey Songz/BET/Damilola Taylor Trust event at City Hall event in February 2011.

http://www.youtube.com/watch?v=pHeC8XyC-Yo&feature=related

http://www.youtube.com/watch?v=KLgOuCO5-Vw&feature=related

Himal

R&B/Soul Singer HIMAL hails from West London and performed at some of Londons finest venues including the world famous Jazz cafe, Bloomsbury Ballroom, and various other well known lounges and clubs. HIMAL'S soulfully honest performances have not only taken him to the Apple store in Birmingham but to venues in Zambia, Africa with a full african band. Working almost behind the scenes like a quiet storm HIMAL has gained industry experience by working with songstress Leona Lewis and Pop band Take That, not to mention various other top ten acts. He has also previously supported Jesse Boykins III, Terri Walker and Stacy Epps on their Uk tours. Some have dubbed HIMAL londons answer to John Legend due to his sultry smooth vocals and husky tone. An avid rare groove and vinyl junkie HIMAL is heavily influenced by artists like Al Green, Stevie Wonder, Curtis Mayfield, Nas and the Beatles. Be ready for HIMAL'S dynamic live performances as they can range from intimate sets with an acoustic guitar to an MPC ( his love for hip hop) to full band shows. He received excellent reviews from his Aloe Blacc-I need a dollar acoustic cover on numerous blogs and is preparing for the release of his new single 'Makin Moves'. For future releases info and show dates follow HIMAL on twitter @ Himalmusik and click 'like' on his facebook artist page.

http://www.youtube.com/user/Arusiuka

http://www.streetsondemand.com/home/2011/06/11/ondemand-himalmusik-i-need-a-dollar-acoustic-cover/

http://effectm0de.wordpress.com/2010/04/16/himal-barnes/

Dajla Lalia

White Tiger alias "River Tigris" a.k.a. "La Tigresa Blanca"...

After her French and African experience (« Soul Poetry », 2007, « the Meaning of Life », 2009) singer/bass player DAJLA & her "White Tiger Society " settled in London to record her 3rd album.
"My LOve Life » is a blend of Classic organic Soul music, contagious grooves, heavy basslines and Reggae inspired melodies.
Recorded at the Fish Factory Studios in the summer 2010, known for its vintage and homely atmosphere, « My Love Life » is a breath of fresh air. A claim for optimism and hope.
In a world where darkness seems to be the focus of attention, Dajla brings a message of love and light, sought by many.
Dajla’s music is deliciously sophisticated yet focused on the bare essentials : clear writing, subtle arrangements. An soul in the wake of Al Green, Bob Marley’ s first albums, or the soul songstress Minnie Ripperton.
Lyric-wise Dajla has found her balance between sign-o-the -times hilarious social criticism (Where Are The Men?/ My Love Life) and her more conscious side (Elevation, How Long...)
This album is dedicated to LOVE ! Love for life, and for our friends. Love for the planet, Love for the Human Race and the Creation…
LINE UP/LIVE Dajla & White Tiger Society
Dajla : Vocals, Bass, Backing Vocals
Benji Blow : Guitars/drums
Yussef K. Dayes (from United Vibrations) : drums
Ama Oliver and Audra NIshita (Ex Macy Gray) : backing vocals

SINCE 2006 Dajla and Benji Blow have shared the stage with the Brand New Heavies, Amp Fiddler, Speech Debelle, Nneka, Joy Denalane, Sa-Ra Creative Partners, The Last Poets, De La Soul, Angelo Moore from Fishbone, MC Solaar, Manu Dibango, Dele Sosemi, Daaraji, The Last Poets, Dwight Trible & The Life Force Trio, Laurel Aitken, Tumi & the Volume, Hocus Pocus, Wax Tailor, Magic Malik, Anthony Joseph, The Procussions and many more...

http://www.dajla.com/

http://snd.sc/dVNHB

DAJLA & the White Tiger Society New Album: "My Love Life"

Adisa

Adisa, which means - "One who makes meanings clear", is an inspired inspirer.

He is inspired by the unseen forces of nature and to date has inspired every audience he has performed to.The art form he uses is performance poetry. His poetry shares knowledge and wisdom that uplifts people of all ages and background.Since he moved to London he has changed from "chatting on the mic" in dance halls to using poetry as a means of self expression. He finds poetry very healing and from the responses from the audiences he has performed to they are also touched by his works. Over the last three years he has performed to a wide range of audiences in all kinds of venues, from pubs, to schools & universities, to theatres. His primary desire is to help bring poetry to a mass audience. His work has taken him to many festivals nation-wide and also abroad from Glasgow to Barcelona.Adisa also won the title of New Performance Poet 1994 in a national competition with 100's of contestants (from a range of cultural backgrounds and a very distinguished panel of judges.

http://www.adisaworld.com/

http://www.bbc.co.uk/programmes/b010p1dt

Urban Deep

Who is URBAN DEEP?

Urban Deep is DJ & producer Gavin Cheung aka 'Nookie' and vocalist / Saxophonist Ryan Daniels.Both Gavin and Ryan are based in London UK and share a mutual passion for Jazz / Funk / House music.As well as forming Urban Deep primarilly as a production partnership Gavin and Ryan will also be taking their unique sound on the road with DJ / Vocalist sets and a full live band.

http://www.urbandeep.co.uk/

Orphy Robinson & Nu Savanna

http://www.reverbnation.com/orphyrobinsonthenusavanna

http://www.bluesandsoul.com/live_item/178/

orphy_robinson_and_nu_savanna_london_jazz_festival_forge_camden_201110

http://www.myspace.com/nusavannaband

https://www.facebook.com/pages/Orphy-Robinson-The-Nu-

Savanna/184159934961518?ref=ts

Dj Leah

Parallel featuring Samson Jatto & Joe Newman

"Parallel" a young duo put together by Chart topping Drummer Samson Neo- Soul Jatto from "Maverick Sabre" fame and Programmer/Guitarist Joe Newman, This duo deal with broken beats and live sampling,so expect Tight drumming arrangements and extremely Phat beats. They will be joined by some extra special guests in the form of Horn section duo legendary saxophonist Ray Carless & Ace Trumpet player Claude Deppa. The 6th July is certainly an evening not to be missed.

Claude Deppa

Studied at Hackney College in the late 1970s

Ray Carless

News of the death of Gil Scott-Heron in St Luke's Hospital, New York City, sent a shockwave through the music world, writes Clive Powell.

2011-06-10T14:22:00.000+01:00

Legendary: Gil Scott-Heron Undoubtedly, one of the most influential musical poets of the post-modern era, Scott-Heron'ssharp and visceral commentary of a post-civil rights America, with its writhing poverty, racism, unemployment and inner city decay, became the voice and conscience of a disenfranchised generation.

Rapper Chuck D among mourning fellow artistsThe title track from his 1970 semaphore/debut album, Small Talk at 125th and Lenox, is the classic, The Revolution Will Not Be Televised, which is hailed as the modern proto-rap record.

These lyrics are a wake-up call: "The revolution will not be televised, will not be televised, will not be televised, will not be televised. The revolution will be no re-run brothers; the revolution will be live."

"The revolution will not be televised, will not be televised, will not be televised, will not be televised.

The revolution will be no re-run brothers;

the revolution will be live."

On hearing of Gil's passing on May 27,Chuck D of 1990s political rap group, Public Enemy tweeted, "and we do what we do and how we do because of you. And to those that don't know tip your hat with a hand over your heart & recognise".

My own romance with Gil's blend of lyrical majesty and political chivalry began with that same classic track which I sampled for use in my first single released in the early 1990s. At that time, the reputation of Gil and other similar politically-charged poets like Harlem, New York's The Last Poet's', was a major influence on the emerging US rap scene, despite him not having released a new album for almost a decade since the early 1980s.

He is credited as the "Grandfather of Rap", although he preferred the moniker of, "bluesologist", labelling his music a fusion of poetry, blues, jazz and soul. You only have to listen to his various ballads and song's like A Lovely Day from his From South Africa to South Carolina album to appreciate the full range of Gil's lyric and musical repertoire and to remind yourself that he was not solely a political artist.

Gil's poetry and music made an indelible mark on the human consciousness. His second album,Pieces Of a Man, produced the sublime, Lady Dayand John Coltrane, is a homage to jazz legends Billie Holiday and John Coltrane. The cutting edge track, Home Is Where the Hatred Is, describes Gil's desperate life-long battle with drug addiction against a backdrop of wider community alienation and disillusionment.

For me, it was Gil's ability to both celebrate and berate at the same time which was his gift to the world: to give a voice to the voiceless and tell their very human story. The ubiquitous story of coexisting with rising joy and sinking pain; this became his trademark.

His lyrical dexterity, charm and poise wrapped his words within a cerebral vacuum which was hard to punctuate or leave once you were caught up in it. Listening to Gil's poetry and music liberates the spirit and yet hold it prisoner at the same time. He possessed perhaps, the stark romance of Keats, and the gritty realism of Dylan, combined.

Throughout the 1970s and early 1980s, Gil's new studio albums emerged, such as: Winter in America (1974), with the classic, The Bottle and the emblematic anti-apartheid, Johannesburg of From South Africa to South Carolina (1976). His last album for Arista Records was Moving Target in 1982.

The son of a Jamaican father, Gil Heron, nicknamed "The Black Arrow", was a soccer player who, in the 1950s, became the first Black athlete to play for Glasgow Celtic Football Club in Scotland - a little-known amazing fact.

Having attended Lincoln University in Pennsylvania, he left after around two years to write the novels, The Vulture and The Nigger Factory. The former was published in 1970 and was well-received.

He obtained a Master's degree in creative writing in 1972 from Johns Hopkins University. Around this time, the Black Power movement had succeeded the assassinated Malcolm X in America and Gil's writing and musical themes became a soundtrack of that time. In fact, he acknowledges both Huey P Newton, co-founder of the Black Panther Party, and Malcom X as influences on the sleeve of his debut album.

Gil was the first signing to Arista Records. Arista was ex-Columbia Records chief Clive Davis's new label. He later signed Earth, Wind & Fire and Aretha Franklin amongst others. His prolific music career with Arista lasted 10 years from 1975 to 1985 and produced eight studio albums. After he left Arista, Gil did not record any studio albums for almost a decade until he signed to TVT Records in 1993 and as if from nowhere, released, Spirits.

I recall hearing its seminal track, Message to The Messenger on cassette format using my Sony Walkman and headphones. The young effervescent voice of before was replaced by a seasoned growl, but the poignant lyrical brilliance and the familiar faltering and vulnerable vibrato that ended almost every note, remained. With its infamous synth baseline melody and hi-hat intro accompanied by Gil's gently humming the melody before unleashing his diatribe against the new generation of rappers.

He reminded them of their shortcomings and responsibility alike; this cogent and damming part soliloquy, part lecture, re-affirmed Gil's return and affirmed his new status as the elder statesman for a new generation. His later years were marked by prison terms for drug possession and failing health allegedly caused by him contracting HIV.

After his release from prison in 2007, Gil began performing again and a series of concerts, radio and TV interviews confirmed his return to music. He released his new album, I'm New Here only last year and it received worldwide critical acclaim and introduced Gil to a new generation. He began touring and performing again throughout 2010 with some high profile concerts in London. He appeared to be back in the spotlight and enjoying it.

My enduring memory of Gil was during his performance at a London venue more than 10 years ago. Older and more frail, his towering slim frame housed a bellowing angelic prose that shook the room and the hearts of the audience. The atmosphere was electric and Gil presided over his followers in an almost pastoral, spiritual way. His presence and status was palpable and his commitment to political freedoms everlasting. RIP Brother Gil.

*Clive Powell is a jazz writer and broadcaster.

Gigs I've seen so far this year.

2011-06-10T12:41:00.004+01:00

(Frank McCombe chats to the audience)

So far this year I have been lucky enough to see Kurt Elling, Frank McCombe, Sade all of these have delivered cracking shows--Sade had the most incredible Multimedia stage shows with her band giving a tight accomplished set,It was great to see my mate Leroy Osboune ex Savanna lead vocalist who relocated to L.A 18 years ago reminding UK audiences of what they have been missing,he really is not only a great vocalist but a fantastic musician, he played Guitar,Percussion and Flute as well as treating the audience to some surprise dance moves! Some of my other homeboys added to the mix with the Sade band were Pete Lewinson on Drums and on percussion adding admirably to the mix was Karl Van Den Bosch with Steve Momrelle joining Leroy on Backing vocals. Sade looking very cool as always, just gets better and better, they are now on the US leg of their world tour with John Legend opening for them throughout. Should be one exciting tour.

I was lucky to catch Frank McCombe at the Jazz cafe earlier this year as well, he also had a tight band with Lennox Cameron in there on keys duties and Vocals as well plus Mr Cool himself Xantone Blacq guesting on extra Keys and Vocals. (Xantone by the way turns up on the new Nigel Kennedy album "Four Elements" due for release later this year. as well as Xantone's own new Album due for release quite soon,watch out for them) Percussion duties were taken up by that man Karl Van Den Bosch again. Frank McCombe delivered some brilliant piano playing on his cherry picked material for this show and of course the amazing quality of his Voice filled the Jazz Cafe and left everyone wishing they could see him more often over here in London. The Kurt Elling Gig at the Barbican was also a great show, this was the first time I have been able to see Kurt live and he didn't disappoint,tight arrangements and a lovely band,more please!!

2011-06-10T12:22:00.002+01:00

Please check out this show at the Hackney Empire,The Hackney Harlem company are a brilliant collection of talented young performers who have mainly come through the very successful Empire Artist Development programme. Last year they played to sold out audiences throughout the world famous Edinburgh fringe festival gaining 5 star reviews in the National papers & industry bible The Stage resulting in an award for their amazing adaptation of the Shakespeare classic! The year before that they had also received ecstatic responses in a ground breaking barnstorming tour to the USA where they were invited to perform in the Harlem Festival where they wowed audiences with their all round exciting and unique take on the Classic, they were also invited to perform at the historically important Black Theatre of Harlem. An adaptation packed with some Cracking original music,dance and Acting and comedy. Trust me you will not be disappointed.. Book tickets here:

http://www.hackneyempire.co.uk/2220/shows/a-midsummer-nights-madness.html

It's been a long time!

2011-06-10T03:05:00.005+01:00

It's been a while since I last posted on the blog,many things have happened since March last year, some good some bad but hey that's life! I will try to fill you in on some of those things in some upcoming posts. However for now this will be brief,There are some announcements of gigs coming up plus views and news. Hopefully I can start some discussions on various issues that I am passionate about along the way. That's it for now,stay tuned!

Return of the Burn out Mama band Day 3

2010-03-17T00:54:00.005Z

The next day we left around midday for Helsinki with Ed and Mika taking the train from Turku and meeting us in the centre of Helsinki in the early afternoon at the Ambar a trendy Internet cafe come late night hangout space for clubbers on their way home!

We were to meet up there and head off to the Train station to catch a train to the venue in Malmitalo which is on the outskirt to the north of Helsinki, Leaving Reija free to drop off instruments and pick up various bits of backline equipment. Everything was going to plan when we got on the train then all of a sudden Ed got up from his seat in the train and started frantically rummaging through his bags and pockets going ”Wooh,Wooh,Shit,” when we asked what was up he calmly said "I think I have lost my passport" which met with silence.He looked through all his stuff a couple more times before we arrived at our stop with no luck. So now to add to Broken Saxophones, Lost Luggage, Unscheduled bus journeys! Now we also had a lost Passport in the mix as well! Ed checked his bags and pockets about 10 more times before saying! “Shit must of dropped it in the Internet cafe".

Mika had a phone number for the Ambar cafe in his phone but no one had seen or handed in anything when he called up!

When we walked into the Malmitalo venue Reija met us smiling saying "Oh great you all made it here in one piece! She noticed we were not smiling and asked "Hey! What’s going on" I replied “definitely not Marvin Gaye, Ed's lost his Passport”!

She nearly fainted at that" And said "What do you mean" “Yes Reija Ed’s lost his passport, and no we’re not joking”. Reija was understandably not smiling at all now as Ed explained what he thought might have happened while simultaneously going through his bags yet again! Meanwhile yet another Tenor Sax had arrived for Ed to use here in Helsinki so he immediately started speaking with the Saxophone player and trying the Sax out! Reija got on the phone to see what could be organised for the passport as Ed would need something to use to travel back to the UK. It was now quite late in the day and all offices were closed including the British Embassy where he might have been able to have emergency travel documents issued! Meanwhile a call from the Airport regarding my lost luggage came through! I had decided not to get the bag delivered at the B & B we were booked into in Helsinki but instead I would just collect it when I was leaving the next day at the Airport! Since I had managed without the bag so far”

Ed had now remembered that he had a copy of his passport details on a USB stick that he had with him. Fortunately it was all still there so he was able to get a photocopy made that would hopefully allow him to travel back to the UK which as it happens he was able to do the next morning.

The gig went really well after all of that with a reasonable size crowd showing their appreciation with some encouraging sounds and words afterwards backstage from some of them! The Saxophone player who had brought along a couple of Saxes for Ed to try out had then taken a look at Ed’d Tenor Sax and managed to carry out a good enough repair job that allowed Ed to use his own Sax until he had time to take it in to be fixed properly when he is back in London.

After the gig we headed back into town on the train and straight back to the Internet cafe just to see if Ed's passport had turned up in the meantime but unfortunately nothing turned up!

Next morning Ed flew back to Manchester for a gig and was able to use his photocopy and driving licence to get back to London, when I went to the Airport I had to first collect my Bag then immediately check it straight back in.I got speaking to the check in staff who had noticed a green Found tag on my bag they said "Your not by any change with the musician who flew out this morning Mr Jones”? When I said I was in the same band they cracked up laughing!

All in all it was a good few days spent in the company of some excellent musicians not an incident free weekend of gigs but certainly not boring! I am really looking forward to going back to Finland with the Burn Out Mama band, although we could do with a quieter time next time that’s for sure. Thanks to all at Turku Jazz Festival and the Malmitalo in Helsinki! Hope to visit and play them again one day.

Day 2 The return of Burn Out Mama

2010-03-17T00:43:00.003Z

The next day we met up with Mika in the hotel foyer he was quite contrite and apologetic about the messy travel re-arrangements of the previous night.Mika had actually decided to stay in Helsinki overnight when he had finally arrived at the Airport and received the news that we had left on the bus for Turku. Getting up early the next day and taken the morning train to Turku.

We also now met up with Ed in the Hotel who had arrived early the day before and had travelled to Turku with Reija. That was when Ed announced that his Tenor Sax was broken and he needed to either find a Sax repairer quick or get hold of a good Tenor sax to play the show that night! Reija immediately got on the phone speaking to the Festival Promoter who luckily managed to locate a sax for Ed, A good Selmer Sax arrived at the venue for the Sound Check. Ed immediately started to try the Sax and broke out into the biggest smile beaming from ear to ear, happy that he wasn't going to do the gig with a paper and comb!!!

For my part the first thing that caught my eye when I stepped inside the club was a small Xylpohone? We always ask for good quality Marimba and Vibraphone on the Burn Out Mama gigs and luckily have always managed to have good quality instruments provided. However on this occasion a Xylophone had somehow been substituted for the Marimba. Not sure if they thought I wouldn’t notice or just had problems trying to get a Marimba! I headed over to the Xylophone and tried a set of mallets but they just sounded wrong as they were not Xylophone mallets plus the size of the notes were so thin that the heads of the mallets were way to big and looked like some kind of joke set had replaced the real ones. So I took the decision to play most of the show on the Musser vibes that they had managed to hook up for the gig! Meanwhile other news had reached us that the Bass Amp that Geoff's was to use plus the Electric piano for Mika to play on a couple of numbers in the Set would not be at the Soundcheck but would in fact arrive for the gig as they were being used by another band on the festival playing at the same time as our Sound Check! Which in this case meant keeping the audience waiting until the equipment arrived and was then rushed onto stage followed by the musicians making sure they were working properly!!!

The Burnout Mama music relies on some tightly organised grooves sampled and triggered through a Boss Rc50 Loop station controlled by Geoff's and he had done a fantastic job setting everything up in advance for us. The show went well and we had some very positive feedback with a few promoters present from other Festivals in Finland proposing some possible shows for the future.

Straight after the gig we went off to the obligatory festival Jam session where some excellent local musicians were playing! Mika and Ed got right up on stage and joined in immediately with Ed still able to use the same Tenor Sax that he had used earlier in the Burn Out Mama Gig! Reija also joined in and delivered some classy scat vocals with the Double bass chair taken over by the Promoter of the Pori Jazz festival. I must say it was a good night and featured some fine playing by all concerned at the Jam session.

Return of the Burn out Mama band Day 1

2010-03-17T00:28:00.005Z

I was looking forward to travelling out to do some gigs with the Burn Out Mama band in Finland. The idea was to Fly into Helsinki then be driven to Turku for the first show. I was to meet up with Bassist Geoff Gascoigne at Heathrow and fly to Finland. When we landed at Helsinki Airport we headed for the baggage reclaim and waited for our luggage to come through expecting to sail through quickly and go off to do a bit of Internet surfing while waiting for Trumpet player Mika to meet up with us. Instead we waited and waited as my eyes desperately followed every bag that resembled my own as the luggage trundled around the Baggage carousel. The bag had all my clothes, Power supplies and cables some Cds that I had brought along to sell or network with plus some percussion bits and pieces. Once the last bag came off and was claimed there was the realisation that “My bag must still be in London”

So I headed off to fill in a report about my lost bag not coming through at the desk when a phone call arrived from Vocalist Reija Laing with the unwelcome news that she had just spoken to Mika who had actually been in London as well doing some gigs back with Pianist Jonathon Gee and should have been now boarding a plane to Helsinki to meet up and drive us to Turku. Mika was still on his way but was now incapable of driving after having had a few too many drinks toasting the success of their gigs! So now that would put us in an awkward position where we had to make a choice whether to go and get a Coach to Turku instead of chancing it in a car for a two and a half hour journey through some serious snow unless of course one of us wanted to drive Mika’s car on roads and in weather we were not familiar with! Mmmm “Maybe not”!

Soon as the lost bag report was done, we went out to find a Coach going to Turku! Luckily there was a Turku coach one of the last heading there for the night, so we managed to squeeze into a couple of seats at the back of the bus, both not really sure where we were going, but fingers firmly crossed that we would eventually emerge at the bus station in Turku and be picked up by Reija! Geoff lugging his electric bass in a heavy duty flight case and both our luggage squashed in with us, given that we were one bag short it probably worked out better comfort wise than if the airline had not lost my bag. The bus journey involved a change of buses at one point as well, this was made all the more interesting by every one of the bus driver’s announcements obviously being made in Finnish with neither of us understanding a word, it made for some tense moments whenever the bus stopped at various points during the Journey.We really had no idea if we were going in the right direction or even about to enter some treacherous road conditions and needed to hold on to something! Added to that a digital Sign at the front of the bus was constantly flashing up messages showing the temperature inside and outside the bus, with the readings for the outside getting lower and lower as we headed down the motorway.It was 1:30am when we finally arrived in Turku! By now the temperature was at minus 10 so we were really relieved when we saw Reija’s car pull up beside the bus and we could get straight into a warm car. Yet even in that biting cold I was shocked to see some young people queuing outside various night clubs in the centre of Turku and just like in every city the world over dressed to impress rather than sensibly for the weather i.e young girls in Short skirts etc! Anti Freeze for blood anyone?

Henrdix the Coda, A Purple Haze!

2010-03-10T09:17:00.012Z

So we have now arrived at the last concert of the tour and a great way to end things with the take no prisoners very loud Jimi Hendrix show!The Audience are greeted by a stage full of Marshalls, Vox, and Rivera amps. Clayton Doyle the Hammond specialist from Sydney was back on Hammond Organ and the young violinist Sonya was also back to join us on one of Nk's Electric Violins this time to again play some Bartok pieces that Bassist Adam who plays Electric Bass and Drummer Krzysztof on full drum kit surrounded by a battery of cymbals were invited to contribute some tasty Rhythm section embellishments to. Sonya also sat in on the Hendrix song "Drifting”. I again played the Mallet Kat Express with an extra octave through a Korg Motif ex Rack into a Mooger Fooger on the right side and a Roland Gt10 multi FX pedal board on the left and yet again the biggest Roland Keys amp I have ever seen controlled by a Yamaha stereo Volume pedal.Doug moves from Acoustic Guitar to Electric and a small array of Fx pedals to complete the transformation from the music of Bach/Ellington to arrangements of music by Jimi Hendrix!

We played for over Three and a half hours and as tired as we should have been the band after the night before we were seriously on form and "kicking A**" as they say,really sending out a wall of sound in true Hendrix style. Nigel threw us a curveball for the encore in the shape of the standard "Honeysuckle Rose" and the Hendrix classic "Hey Joe" to finish.

Backstage was again packed with well wishers and musicians, some ended up back at the hotel including the members of the Aston Villa fan club who we had seen at the gigs in Sydney and Brisbane! To think at the same time as we were celebrating the Successful conclusion of the tour back at the suite top of the hotel the Australian Premier and the American Ambassador were also staying there just down the corridor.The night ended for me with an unscheduled trip outside the hotel! This came about because when I left the party I got in the lift put the keycard in pressed the button for my floor and nothing happened! I tried many more times pushing in and pulling out the Keycard followed by pressing the floor button with no result wiping it on my clothes then trying again with no luck,so instead I hit on the bright idea of trying another floor and bingo the lift went down to the 18th one floor lower than I needed to go but I thought if I could then find some stairs I could walk up to my floor. Anyway I ended up walking around the 18th until I found some stairs, I then went through the door into the stairwell and of course once the door shut behind me I realised it was a security lock and of course every floor would be the same, meaning its not going to open at all from the staircase side, so I then ran downstairs desperately trying to open the door onto each floor that I arrived on with no success until I gave up that idea and just kept walking down the stairs praying that there was a way out at the ground floor. When I finally arrived at the bottom luckily the door opened however onto the Street not into the hotel as i thought it would and at these stairs had brought me to the back of the building! I then had to walk around the block to the front of the hotel and into the lobby! The receptionist looked up then straight back down to whatever she was doing as I uttered the embarrassing words "Nigel Kennedy band, I am staying here and the lift didn't work" pointing towards the Lifts to which the Receptionist without looking up just replied "Of course you are" which made me feel even more Foolish! I chose a different lift this time and was relieved when i put the keycard in and this time the floor button lit up and that took me up to my floor with no fuss! I found out in the morning that quite a few of us had done exactly the same thing with the lift and followed up with the same trip downstairs and around the outside of the building into the front again ! They probably have us on CCTV and are watching it right now laughing their heads off each time another musician appears in the reception area.

Well that's the end of Australian tour never boring and as Gary our Sound Tech has said many a time” Welcome to the world of Kennedy".

Now on the way back to London with Doug and Gary. Nigel and the rest of the band all left Brisbane to go back to Sydney for a week’s holiday in Palm Beach! Mmmm! Lol...

Next stop on the Nigel Kennedy experience goes to Europe starting with St Moritz-Switzerland!...

Brisbane “Lets get ready to Rumble

2010-03-10T08:44:00.006Z

Brisbane was going to be the second place on the tour that we where going to perform the Hendrix set as well as The Bach & Ellington music. The difference here was that whereas in Sydney we had played two nights with just the band at the Basement club doing the Hendrix Music, then performed the Bach/Ellington at the Opera house with the Orchestra. Instead we were now going to do both concerts in the same venue the huge Queensland Performing Arts Centre. This would provide some different issues for our sound team of Gary and Piotr.

When we arrived In Brisbane on entering the hotel Nigel exchanged greetings and shook hands with a friendly couple who had just checked in as well! It turned out following further discussion that they were booked in for the weekend to celebrate the Husband's Birthday and were on their way to have a special meal in one of the Hotels restaurants! So Nigel then invited them up to his suite for a birthday drink after their meal! I didn't think they would come up to the suite but they did pop in later willingly joining in with the banter and having a few drinks with the band. In fact it turned out that the gentleman was a dentist and in the true manner of the Australia tour and the increasing bizarre happenings around the tour, they hung out for hours and were totally comfortable with all the mucking about and ribbing that the band get up to! he even offered on hearing us joke about how Saxophonist Tomasz had got stitches in his Thumb to take the stitches out thus saving Tomasz a trip to the local Hospital the next day on condition that we had the hotel find some surgical scissors,Gloves e.t.c the Head of security who had dropped by the suite to see if Nk was ok and needed anything, was then sent off to find some sterile gloves and a pair of scissors which duly arrived and unfortunately or should that be fortunately an unsuccessful attempt was made to remove the Stitches.Turned out that the scissors were much too big thus saving Tomasz from the screams we were sure he was going to let out at any moment as the expression on his face was now changing rapidly to a bright Red crimson colour either from the effect of the Vodka he was taking to dull the pain or the thought of the actual event taking place,especially as we were all crowding around for a closer view!Needless to say the party went the way of all others on this tour fading out at sun up!

The day of the last Bach/Ellington had finally arrived this was sadly going to be our last date with the Sydney Symphony Orchestra Led by Concert Master Dene Olden they had swung the Ellington beautifully from the Opera house through to Canberra and In the process had really started to let their hair down and join in with the lighter moments on and off stage which to some extent is kind of unavoidable with Nk, we had become a tight unit and I for one will miss them! The Nigel Kennedy Experience that includes the Hilarious "lets get ready to rumble” Rallying cry that he shouted out Backstage as they were going on to the stage each night nearly always managing to catch everyone within earshot off guard!

The last night flew by with everyone playing out of their skins and the Scottish Jig at the end had the house up and on their Feet! He even managed to get in a small band version of the Jazz standard "Nights in Tunisia".

The party back at the hotel had most of the Orchestra in attendance and was one huge sing song with Bass player Adam playing The Piano and Stan the Polish violinist in the Orchestra and a real warm funny character playing some jaw dropping stuff folk and Gypsy music on the Violin. We also had the sight of some Orchestra members who will remain nameless draping themselves on top of the piano and really letting the hair down. I think the last Orchestra Member to leave the party went around 6: oo am to get their early morning flight back to Sydney!

Love to the Sydney Symphony Orchestra and crew!Thanks for making us so welcome!

"Proper top sh** Geezer"

2010-03-10T08:41:00.004Z

"Proper top sh** Geezer"

Finally we have arrived at the last stop on the Australian tour the cool city of Brisbane. Canberra had its moments the Convention Centre where the concert was held is a typical large event space the type that you find in most big cities now, all new and looking like blocks of Lego! Which was a bit of a shock to the system after the cosiness of The Sydney Opera House and the Hamer Hall in Melbourne, which of course are both dedicated world class Arts venues. Canberra itself well, what can I say about Canberra? My first impression of Canberra was that it had a cold calculated designed by committee look about it and did not for me have any redeeming features that can give you a sense of history or just warmth that you get from Sydney and Melbourne or even the feeling that people actually live there! Everything just looks too clean, too new, too corporate!No size to the place as well, I mean you could go around the whole place in ten minutes and then not even notice that you had. Canberra being a new town seems to also have that annoying preponderance of Road signs and too many rules i.e No left turn, no Right Turn, Oh look there’s yet another Roundabout sign every 10 feet, so it gives you the impression that you can see where you want to go to but you have to do a Snakes and ladders course to get there! It reminded me of somewhere like Milton Keynes in the U.K. Nearly everyone I spoke to leading up to the Canberra show had all said “why are you going there, there is nothing there? and my personal favourite “Man that place is the Ug in Ugly”! Still it was a good turnout and the music was well received by a highly appreciative audience.

For the musicians the concert went very well and some friendly faces back stage at the after party meant that as usual everything went with a bang! Even better back stage various young Violinist were turning up and playing Solo pieces to Nigel. Of course the party then continued back in Nigel’s suite at the Hotel and that of course went into the late hours of the next morning, Guitarist Doug ended up with an unplanned new Haircut that looked quite scary, while Gary had fallen asleep on a sofa and then awoke to find a mountain of furniture stacked neatly to the ceiling with items placed strategically on top of him by the partygoers led by certain culprits in the band. That and various fruit were also placed on top of him while he slept, when he finally woke and tried to get up of course it all came crashing down!!

That morning as we were leaving the hotel, It was absolutely chucking it down with rain at the same time as the band were checking out of the hotel, Meeting in the foyer area the band looked like they had been ten rounds with boxers Mike Tyson and the Valyuev with Gary’s new haircut taking the top spot for “Weird Happenings in the night”!

Bye Bye Sydney

2010-03-06T04:03:00.006Z

The last night of Sydney at the Opera house was as they say off the hook!Having a day off was great and it was good to have a small rest after 3 nights of concerts, just to recharge our batteries and get focused again for the last concert there.The night flew by and was probably the smoothest on the tour so before we knew it we were once again in the hospitality lounge courtesy of Verve Clicquot!!! Monday night was another one of those full houses were the audience are seated right around the Opera House so for the musicians it's a bit strange because you are very aware that there are people watching you from behind and at the side of you not just in front! Backstage everyone was celebrating but at the same time we were getting ready to rush off to the Basement club for a Jam session that Nigel and the Quintet would kick off with keys player Alan Zavvod Ex Zappa/Luc Ponty fame who had flown in from Melbourne! The session started about 12;30 and yet again a well deserved round of applause for the Basement delivering the unbelievable sight of a packed Jazz club on a Monday night. The Basement was packed and buzzing as always.I bumped into good friend Trombonist Trevor Myles & other musicians from the U.K who are on a 9 month tour with Tom Jones,Trevor actually got up on stage and blew some warm melodic lines with the band at one stage that excited the crowd no end!

A big downer was the constant blocking of sight lines to the stage by two huge video camera carrying pals of one of the musicians who were acting as if they were intent on making a video out of the whole night,who knows? but it got very annoying trying to see around them!

A couple of the musicians from the band that had been playing in the Pizzeria earlier that week also turned up and sat in with Nigel which for me was the best part of the night playing some eastern european songs! I was slowing down drastically so I made my excuses and went back to the hotel after that.I understand surprise surprise a party broke out after that at the Basement and at the Hotel!

Next day was another day off for packing and generally just chillin before travelling to Canberra.

Had a last meal at a restaurant overlooking the harbour looking over at the always impressive sight of the Harbour bridge and mentally said good bye to Sydney! a great place and one that I hope it's not so long before I visit again.Now for Canberra and Brisbane.

Below is a review of the last night from the Sydney Herald.

http://www.smh.com.au/news/entertainment/arts/no-joke-it-was-a-musical-love-fest/2010/03/03/1267291886966.html

First three nights down only one more to go!

2010-03-01T01:43:00.006Z

The first three nights with the Sydney Symphony Orchestra were a riot of full houses and audience participation by the bucket load,Of course helped by a hysterical volley of knockabout Humour from Nigel as usual that seemed to help to relax the Orchestra members quickly into their stride and swinging the Ellington music just right each night!

Two of the three nights ended with the Scottish jigs that he plays sometimes at the end of shows the first thing you notice is the sheer panic on Orchestra members faces when he just announces out of the blue "lets do a jig", As he simultaneously launches into the jig! The first time was at a really furious pace that threw everyone off guard and we were all trying desperately to catch up and keep up with Nigel! However the 2nd time their bows were working furiously as we were all on top of the music and big smiles all around the stage accompanied the audiences enthusiastic response! Two of the nights the band also got to stretch out on an impromptu "Caravan"that works as a nice contrast to the rest of the evenings programme!Followed by generous amounts of After party fare in the Green Room!

The rest of the time as you can imagine from my earlier blogs about the tour are normally spent in a kind of Spinal tap type band scenario, highlights include Tomas the Sax Player sawing into a finger while cutting some bread backstage and needing to be rushed off to hospital to have 4 stitches inserted then arriving back at the hotel at 5;30 in the morning,which is actually an early night for the group!Adam the Bass player needing a serious session done on his back by a Professional Masseur!

Nigel told an hilarious story on stage about nearly being thrown out of the hotel by security for throwing bars of soap at a tennis player one morning who was playing on the Tennis courts in front of the hotel! Apparently when Nigel was questioned as to why he had decided to pelt the Tennis player with Soap,Nigel replied "Because he was crap and wearing a Red shirt" maybe something to do with the upcoming League Cup Final opponents!

I was really humbled to meet and speak briefly with the Legendary violinist Wanda Wilkomirska from Poland who attended the 2nd nights performance and paid us a visit backstage as well.

Tonight we have the last performance at the Opera house,Yesterday Sunday was a welcome day off,So I managed to finally take a boat trip on one of the harbour ferries choosing an area known as "Watson's Bay" on strong recommendation from friends Amanda & Dinilo who also advised having Fish & Chips from Doyle's restaurant and eating on the sandy beach,It had looked like the boat trip might have to be cancelled as the early morning news lead story was about the earthquake in Chile and a Tsunami that was now heading through the Pacific so the authorities were advising everyone not to go to beaches etc as the tsunami aftermath was heading this way,however by mid morning the warning had been scaled down and it was possible to go out!I Took a lot of photos of some Beautiful views of the harbour and the various stops along the way,that I will remember for a long time!

Meanwhile on our day off the Opera house was being used for a photo shoot by famous nude photographer Spencer Tunick, who is known for his nude group photos in public spaces and on this occasion had managed to fill the the large steps leading to the Opera house with 5200 Naked bodies!!"It was difficult to get the straight participants to embrace the gay participants and vice versa," Tunick said. "So I was very happy that the last set up finally got done and everyone came together (in a) united, friendly kiss, a loving kiss in front of this great structure."

I Also witnessed a a monorail crash at Darling Harbour where one Monorail went into the back of another leading to passengers climbing through safety hatches in the carriages and then onto the station platform to safety!Tv cameras descended really quickly to film,fortunately no one was hurt but it made quite a dramatic picture!

I Had breakfast this morning in the hotel sitting on the next table to Madeline Allbright!

Believe me you couldn't make this stuff up, this tour never has a dull moment!!

Now for the last concert here followed by a jam session at the Basement club tonight to which Alan Zavvod has arrived in Sydney from Melbourne!

Sydney Bach Ellington rehearsals

2010-02-23T15:09:00.004Z

So we have now done the first two days of rehearsals with the Sydney Symphony Orchestra and look to be on schedule for Thursdays opening night concert at the Opera House! Nigel treated everyone to a meal tonight including some friends of mine who have recently emigrated to Australia. The restaurant was called "Love Supreme" a Pizzeria with a Serbian/Macedonian band called Black Trane lead by a trumpet player by the name of Stole.

The musicians were awesome and very tight,the night ended with Nigel Jamming with them and then afterwards with about 5 other string players who had showed up with violins and Cellos in tow!My friends Amanda and Danilo who I missed when they moved back to London from Italy last year and have funnily enough managed to bump into abroad twice in Rome over the years,The first time was when I was with Cleveland Watkiss and the 2nd time with Tony Kofi and his Monk Liberation Front project,the ensemble that does the whole catalogue of the music of Thelonious Monk which takes up over 6 hours in concert.I also bumped into Amanda in Sydney,Australia when I was there in 1987 with Courtney Pine,anyway they have decided to come and see the last show in Sydney on Monday and hang out afterwards wherever the after party might end up!Tomorrow is the last day of practice before Thursday so we will all have to be up to speed and on the ball from now on!

Sydney at last!

2010-02-17T07:05:00.010Z

Melbourne went very well and there has been good reviews etc in the press! The last night of Melbourne was complete mayhem with the guys out on the town making the most of it all!I was out on my feet tired and fighting the last traces of Jetlag and the time difference so I turned in early missing the last night party completely.We did however meet and hangout with some great people in Melbourne and the Orchestra was full of some fantastic musicians and lovely warm people.

Anyway now for Sydney leg of the tour! Some of the band are staying in a house in the area known as Palm Beach with Nigel further down the coast.They have true to form also had a few scrapes already, starting with a couple of the Polish musicians struggling to swim ashore after getting into difficulties with local currents,These included Krzysztof shouting for help to a lifeguard who obviously couldn't hear him at all!He should of waved his arms to attract his attention,Fortunately both he and Tomasz made it back ok and have both decided to stay out of the water ever since,Coincidently at the same time on another beach nearby the Bass Player Adam was also swimming and managed to get into difficulties as well with the currents he ended up crashed on to rocks were he waited to get his breath and strength back and then swam like mad to the shore, sustaining a cut to his leg in the process on the rocks! he has also wisely decided to keep out of the sea for the rest of his stay there.

The guys have also managed to get themselves seriously sunburnt enough to make them look like red Michelin men in the first couple of days!Oh yes and Krzysztof and Piotr the sound monitors technician were bitten and scratched by bracken,brush,bush and insects lurking in their garden while looking for a mobile phone thrown away in anger by Krzysztof one night that manage to bounce off a chair out of a window and straight into the overgrown bit of the garden. Apparently Gary our sound Engineer was repeatedly shouting out helpful things like "Watch out for the Tarantulas they're the size of rats here" that made them even more panicked while frantically using the light from another mobile phone to illuminate the ground around them to see! So now they are finally understanding why everyone has been advising that they use sun cream when you go outside all the time plus we have been enjoying slapping them on the shoulder when ever they walk past just to hear some lovely Polish swear words of which there are many.

Back in Sydney the rest of us are luckily staying in a hotel and doing a lot of sightseeing,taking in the Harbour bridge,The Opera house,the Botanical Gardens and a visit to Darling Harbour on the monorail.loads of huge shopping areas as well.

Rehearsals of the Hendrix Music!

This happened in the gymnasium of a high school based outside Sydney called "Pittwater High".Steve was finding it a challenge getting us into a regular rehearsal space for a late night rehearsal so this worked out perfectly.We also met up for the first time with local Organist Clayton Doley who has a nice style that works well on the Hammond organ he is a good player.Rehearsals were full on didn't sound as if we had only just met.

Opening night at the Basement club was a full house and the venue being one of the best if not the best in Australia for live music never fails to disappoint with a great atmosphere and a hell of a lot of good Jazz memorabilia on the walls,ceiling etc. I saw some posters of a young looking Steve Williamson and Courtney Pine that brought back happy memories.In fact I was last at the Basement in 1987 with Courtney before going on to do shows in Mebourne,Adelaide,Perth followed by a trip to Japan for shows in Tokyo.Although this was in the original Basement club based in another zone back then but I could still feel the same fantastic atmosphere as then and it was real pleasure speaking with Basement owner Chris who remembered me from that tour.

The 1st set we played consisted of "3rd Stone" "Little Wing" followed by "Fire" to close.

The 2nd set consisted of "Drifting,." "In 1983 ( A Merman I should turn to be)" ending the night with "Purple Haze"all pieces were written and arranged by Nigel as extended compositions featuring various musicians at particular moments.Some serious kick ass solos from all the musicians including some blistering Guitar work from Doug Boyle bringing the house down made the backstage area the place to be after the gig,The guest back stage included "Leo Sayer"who told me that he has now settled in Australia.

Our drummer Krzysztof working through the pain barrier of some serious cramp in his right leg at the end of the first set that had us a little worried but fortunately he managed to do a lot of stretching exercises with Piotr working on him that calmed any concerns we might of had about him playing the next set.In fact he played a huge solo on the "In 1983" piece that also received an ecstatic response from the audience.Nigel was on form and even walked through the crowd at one stage letting people use the bow on his violin while he played!I was using the new lightweight model of the Mallet Kat pro as a Midi controller with a Yamaha Motif xs rack for sounds going through a GT 10 guitar processor, a Mooger Fooger pedal and a stereo volume pedal all going through a Roland Keyboard amp and cab of immense proportions, that still could only just about be heard amongst the mix of ,Marshall,Vox,Rivera and various other huge amps and cabs on stage.The Hendrix stage set up is huge and of course its some great music.I can't wait for the second instalment tonight.Let you know how that goes later!

First night performance in Melbourne Nigel Kennedy Australia tour 2010

2010-02-12T05:31:00.003Z

My day started with a good swim in the hotel pool,I also managed to get in a visit at one of the local music shops and managed to negotiate a sizeable discount on a piece of kit as well,One because of being cheeky made the assistant laugh for the first discount then when he found out that Tomasz the Sax player who was with me came from Poland he took off another fifty dollars because it turned out his father originally came from Krakow then by the time it came to pay at the till I managed to haggle yet another 20 dollars off by promising him a guest ticket for the show.Making a total discount of 100 dollars,man was glad I made that trip to the store.Anyway we got back to the hotel just in time to leave for the venue..It was only when I was walking to the stage to put the mallets and music on the stands that I realised I had forgotten something yep"MUSIC SCORES" and in that moment I could clearly see them still in my room at the hotel in my Laptop bag.This was the first day that I hadn't taken my Laptop out of the hotel with me so it was an easy mistake to make.Fortunately the hotel was 5 minutes away so I managed to get a lift and get back before the Soundcheck had started!Sound check was short and sweet running through a couple of Ellington pieces and a couple of Bach movements as well,followed by the first proper run through of Nigel's number "Ssshh".Then it was off to eat dinner.It was only while trying to get a good phone signal as we are two floors under the ground in our dressing room and there are no signals happening there that I decided to venture outside of the theatre but as I opened the door I was greeted by a full scale thunderstorm!Yep lightening, thunder the works absolutely chucking it down out there!

What then happened was flash floods and chaos on the roads that led to major traffic jams all over Melbourne.Needless to say that this affected people trying to get home from work and those trying to get to the show,so we ended up delaying the start of the show by about 25 minutes later than the scheduled start.

When we finally did go on stage it was to a warm reception from a full to the rafters Hamer Hall.The music seriously worked and the whole ensemble were absolutely on top of everything.Nigel was beaming from ear to ear and as always had some hysterical rapport with the audience.

He threw in a couple of numbers that we hadnt rehearsed as well with just the inner band playing they were "Perdido" and "Caravan" that gave a nice contrast to the large Ellington pieces.He ended the concert by kicking a football into the Balcony area!

A great first Concert and reception from the Melbourne audience on the opening leg of the Australian tour and Backstage was definitely a very happy place to be last night.The assistant from the Music store did come along and claim his tickets plus I also fixed it for him to get backstage as well and he had a good laugh and a few drinks with the guys.I wonder how many of them will be down to his shop for discounts on gear before we leave for Sydney?

Rehearsals are over Nigel In Australia

2010-02-10T09:49:00.002Z

So we have finally finished rehearsals for the Opening night of the Australian tour.Nigel K has worked us hard in not only learning and polishing the Duke Ellington and Bach material but he has also added some new pieces to the set we performed at The Tower of London festival last year.One a piece from Nigel's new album titled "Ssshhh" and the rest are all movements taken from the Bach repertoire.

We the inner band as I will call us all had some serious homework last night checking out how best to not get in the way of the Orchestra during the Bach as in my case their are no written Marimba parts as such,so a combination of chords and different melodic or harmonic lines taken from various sections of the Orchestral score are what I have to use to enhance and embellish the movements with a little improv put in for good measure! Doug on guitar adds some subtle twist with some wonderful understated chord work,Adam on Bass uses some of the written Contrabass parts and other Ostinato ideas throughout, plus some extra subtle rhythmic figures played with mallets on to a small Tom covered by a towel and laid down elegantly by Krzysztof on his cocktail set of drums finalises our contribution to the proceedings. It was quite funny watching the shocked faces of the Viola section members when Krzysztof first started up on the drums during the Bach though!

The combined sound of the group and the Orchestra has taken time to settle in but its paid off and by the time we left the stage last night,The Ensemble sounded really tight and ready for the Opening show tonight.

I had my second set of vibes start acting up yesterday and they actually collapsed during one of my solos on the Ellington number "Cottontail",which Nigel found absolutely hilarious!

The problem with the first set of Vibes was that the Motor packed up and was just getting hot but not turning for love nor money,a shame as it was a Concert Grand model from Musser and sounded like a dream plus looked like a million dollars,however within the hour the Tech staff had arranged and brought in another set of Vibes to replace the broken one,this time a set of Vibes called a Traveller set, still a Musser sounded great at first however the problem with this new set was the damper,let me explain what the Damper does.Now the damper on a set of vibes is operated normally by pressing the sustain pedal down you release the full resonance of the sound of the note that has been struck and by taking your feet off the pedal normally a felt material that lies underneath the notes and helps to dampen the sound so that notes do not ring and sustain.The damper on this new set of vibes was seriously uneven both at the top octave end and the bottom octave end,so the instrument was just doing its own thing and sustaining notes without me engaging the pedal at all,really annoying and producing some embarrassing moments in the context of the harmony within the music.Anyway that has now been sorted by the tech staff producing a quick patch work of extra bits of felt placed in the strategic places to make the whole thing even.So huge thanks to the tech guys for that..

The plan last night was to go and see some Live music and have dinner together but not sure how that's gone as I didn't make it out of the hotel myself, So I will have to find out from the Polish Delegation!I am still dealing with the time difference and Jetlag so as soon as I sit down for what seems like a few seconds in the hotel! that's it, out for the count!the result is waking up around 4am and struggling to go back to sleep,So I end up watching rubbish on T.V or rolling news items,Then realising the time back in the U.K and dealing with admin or surfing the internet!Just saw some Live English premiership football at 6 in the morning on the Television how weird its Aston Villa v Manchester United at least it was a 1-1 draw!It's a later start today we are only doing a Soundcheck then its down to the business of Music!

The return of Brit Funk bands Savanna & Atmosfear

2010-02-08T19:28:00.004Z

The band that I started way back when in the late 70s Savanna with Sammy Jacobs and Jeffrey Durrant will be reforming and have been invited to be on the bill of this years Summer Soulstice 2010 on 19th June.I was at the festival last year with Beggar & Co and we had a great time. The audience are a full on Funk audience who know every tune the Djs Play. After the festival last year it was thought that doing something with more Brit funk bands this year would be a great way of offering an alternative weekend festival to others out there! So we were approached about being apart of this years event! I then spoke with Ray of Atmosfear about the possibility of them reforming and doing a double header with us at the Soulstice. On Sunday the news was finally up on the Soulstice site and various Social media sites,Where there is already a lot of activity happening with a huge amount of interest from people wanting tickets. There will be in both bands some heavyweight musicians and Vocalist and I can't wait for 19th June to come around!I will post all news,views and info on the Savanna band here! www.myspace.com/savanna_uk is the web home of Savanna.The Summer Soulstice raises funds for a Cancer Charity every year and is a really worthwhile cause with many volunteers giving above and beyond the call of duty their time and hard work..So come down to Barnet North London if you like your funk fresh!

early February update from the other side of the world

2010-02-08T18:31:00.002Z

So I did rehearsals with the "Burn out Mama" band before heading out to Melbourne for the start of the Nigel Kennedy Australian Tour. The Burn out Mama Rehearsals where pretty intense as we hadn't played any of the music since recording the album in May last year.

The main thing that had us working extra hard was to recreate some of the digital editing and fx laden sound that we have on the album in a live context,not an easy task as we used Protools to the max on there! However Geoff Gascoigne,Mika and Ed Jones had all put in some good pre rehearsal work and it did payoff with getting that stuff together intelligently. Everyone played their asses off and we managed to quickly get ahead of our schedule and give ourselves every chance to do some kicking shows at the festivals in Finland at Turku and Helsinki in mid March!

Really looking forward to those.Reija has put in a serious amount of work getting the band in to those festivals! Congrats to Reija!

Now to the Nigel Kennedy Duke Ellington/Bach/Hendrix tour, starting with the usual long haul flights that take it out of you and leave you trying to deal with the Jetlag for days if not weeks throwing out your internal clock like crazy.I mean I am writing this at 4am when I should really be sleeping! Anyway we got here on Friday having travelled for 20 hours on the flights and fortunately we have had 3 days off to recover,which has helped a lot,When I was last in Australia in 1987 with Courtney Pine we flew in and immediately had a show not the best prep for the full on Coltrane blowouts we used to do on that gig,we also on the return to london flew in to Heathrow and were driven straight to Camden to do a Dingwalls Sunday lunchtime gig,with us all barely able to stand let alone play. The other thing I remember about that episode was that Tokyo had an earth tremor just as we checked in at the Airport that delayed the flights and scared the hell out of us at the same time,we couldn't wait to get out of there. We were able to finally leave there were people saying useful things like "look the ground is still moving" and"it might all start up again as soon as we move along the Runway, so we might not make it out of here!" Very Bloody Helpful!! This time round coming to Australia has meant a more carefully thought out schedule with Steve Cox working in time for us to recover,Although this also meant leaving the brilliant Polish Musicians Adam,Tomas,Christof and Piotr the sound engineer with a lot of time to sample the liquid delights of the Mini bars in their rooms,Happily emptying those each day and I really mean EMPTYING the mini bar!In fact it probably started from them with their first flight from Krakow off to Frankfurt followed by a Frankfurt to Dubai flight which was where they met up with Doug Boyle,Gary Falkenthal and myself. They were all quite merry by this time with Tomas in particular good spirits! They had 30 hours all together in the air so you can't blame them for doing something with the time!!!

It's been hilarious watching them come down to breakfast each morning,That is if they have made it to breakfast! Sometimes wearing the darkest sunglasses I have ever seen.

However when it comes to the business of playing they are seriously on the ball! Yesterday was the first rehearsal with the Melbourne Symphony Orchestra who were swinging their asses off on the Duke Ellington scores! We started with probably one of the most intricate numbers "Diminuendo and Crescendo in Blue" which they nailed immediately eating up the dots like a game of Pacman. The whole Ellington set features some great arranging by Nigel K that just brings out the richness in the Duke Ellington/Billy Strayhorn writing.The day continued in the same vein with the Orchestra slaying all the dragons.Talking about Dragons the Crown Towers where we are staying in Melbourne has a Huge Chinese Dragon presentation in one of its many foyers that starts up every hour for 15 minutes and is the loudest thing you can imagine with lights flashing and smoke billowing out of the Dragon,quite a sight first thing in the morning or at any time really..

The orchestra finished up with playing through the Bach pieces with Nigel K,ready for today when we step in and work with the arrangements that Nigel has in store for us!

Let you know how that goes hopefully later today!

2010-01-25T20:27:00.001Z

Bombastic times at the LS.O St luke centre

2010-01-24T15:54:00.005Z

Had my first gig of the year this week and a real pleasure it was too with Jason Yarde and his Acoutastic Bombastic Ensemble.All the music was written by Jason Yarde so you know its going to be good. Rehearsals were tough but fun with excellent players all doubling or trebling up on various instruments! The line up Was Jason Yarde on saxes and percussion, Julian Siegel on Saxes,Double bass,Percussion,Andrew McCormack Piano,Percussion, Sebastian Rochford Drums,Guitar,Vocals,Marcina Arnold Vocals, Guitar,Percussion. Paul Jayasinha Trumpet,Cello. Emma Smith Violin,Vocals,Sax. Neil Charles Percussion. Ellen Blair Viola,Vocals.Harry Brown Trombone,Horn.I played,Soprano Sax,Tuned Percussion,Steel pans.The concert was at the L.S.O St Lukes building in Holborn and the turnout was a packed house.

MMX is finally here!

2010-01-07T10:37:00.000Z

And the rest bye bye 2009!

2009-12-28T11:18:00.008Z

The end of the year has seen me being invited to cover a gig for Steve Williamson in Oxford at the Spin where I appeared with Pat Thomas on piano a wonderful night and the Spin is always one of my favourite places to play so I always look forward to a journey up to Oxford!We had a lovely unexpected review in the Oxford Times which documents the night perfectly.I will put a link to that below:

Did a very productive session with Alexander Hawkins and the sextet for BBC Radio 3 session that should see the light of day next year,we will also do a tour in year to promote the album "No now is so"really looking forward to that as I always enjoy meeting up and playing Alex's music he is one talented guy!

Finished the year on a Beggar & Co gig at the 100 club.I hadn't been in the 100 club since the early 1990s so I had thought it would of changed a bit but instead it was exactly the same decor which really doesnt work now,just looks a bit tacky!Anyway gig was slamming as they always are with Beggar & Co playing a mixture of originals and Jazz funk anthems,One interesting feature of this gig was that The drummer was double booked playing for US Soul Singer Alexander O'Neal at the Docklands O2 centre so we had to wait until he had played there and been driven across town just about getting to the 100 club and sitting in before the audience got to restless,I started off the gig sent out as a peace offereing to play solo vibes for 10 minutes,this is normally not the type of crowd to play free improv to but they listened and were actually responding in the right places.All in all a different end to the year of gigging for me.No Christmas gigs but i intend to rectify that next year by relaunching the Xmas files project i put out in 2002.Been listening to some recordings made of those gigs and would definitely like to do a revisit!
Next year starts with me performing and recording in the Jason Yarde's LSO concert with Acoutastic Bombastic followed by appearing with the London Improvisors Orchestra in the Bimhuis,Nigel Kennedy world tour and recording,Alexander Hawkins tour,Burnout Mama in Helsinki,Byron Wallen's new album release,Curating a new Percussion festival.Maybe a couple of my own recordings might be out after a 15 year break!
Can't wait for 2009 to end they will be a lot of changes for me next year hopefully for the best,so roll on 2010.

Cleveland Watkiss 50th Birthday concert

2009-12-28T10:28:00.004Z

Cleveland held his 50th birthday concert during the London Jazz festival at the Queen Elizabeth Hall on the south bank.An absolutely brilliant night of music where he revisited a lot of the music and experiences he has had during a musical career that has criss-crossed through many genres!
Listening to Cleveland Watkiss in concert the listener quickly understands why he is such a complete musician and performer. The turnout of musicians involved in his 50th Birthday concert was unbelievable plus the many who had made the trip down to the south bank to watch the concert just goes to show how much genuine feeling there is for Cleveland.
I had the honour of being one of the invited musicians to perform on the day. I performed in The Jazz Warriors segment with some of the musicians who have been an integral part of the Warriors story!Adrian Reid-Piano,Jason Yarde-Alto Sax,Brian Edwards-Alto Sax,Gary Crosby-Double Bass,Mark Mondesir-Drums,Byron Wallen-Trumpet to name some of those in attendance.It was very interesting to hear the feedback from some of those who witnessed the return of the original Jazz Warriors sound!Mmm-Anyway watch this space for some exciting news in the new year.Here is a review from Paul Bradshaw Editor of celebrated journal Straight no Chaser magazine:
Cleveland happily shared his birthday honours with be-bop veteran and fellow singer, 82 year old Sheila Jordan and then, after an intermission, proceeded to confound the audience appearing onstage dressed a la 17th Century. It was left to the piano vituoso Julian Joseph to explain that
the attire and the nature of this character resided in Bridgetower - an opera he’d written and in which Cleveland had performed.Aside from the jazz circuit Cleveland has constantly engaged in London’s ever evolving clubland. He was a regular at Talking Loud & Saying Something/ Dingwalls and was a fully fledged member of Goldie’s Metalheadz crew. His Project 23, with Marque Gilmore and DJ La Rouge (guesting on turntables at Cleveland 50!), highlighted his commitment to putting his own stamp on the drum ‘n’ bass scene. It was through the Warriors and through the club, Anohka, that he developed a working relationship with young, master percussionist Talvin Singh. This relationship was beautifully conveyed at the QEH through a trio setting where the singer engaged with Talvin’s rippling tabla riffs and the sublime, pristine
rhythms and melodies of Tunde Jegede’s kora. It was down to the spoken word of Vayu Naydu to lift this trio to brand new heights.Spoken world also found its way into the set via playwright and novelist Bonnie Greer and then it was down to beat boxer Schlomo, who joined Cleveland, trumpeter Byron Wallen and drummer Shaney Forbes, to articulate a whole other approach to rhythm and sound. The impact of these performances along with those of stellar pianists Jason Rebello, Alex Wilson (you are b-a-a-ad!) and Nicky Yeoh (beautiful duets) will resonate with me for time to come.The spirit of exchange is an elemental force in this music and Cleveland Watkiss – Jazzman, Junglist… Outer-nationalist! – reflects his roots 100%. Hackney was in the house at the QEH, Believe! A refusal to be boxed into any one genre underpinned the whole session. As we drew to a close the slightly twisted Cuba-Brasil collision on ‘Torch of Freedom’ had Cleveland
and Heidi Vogel enjoying a freewheeling lyrical exchange over a sweet montuno. It provided the perfect place to call it day and sent us off happy into a windswept November night.
Paul Bradshaw – Straight No Chaser-November 2009

tHE SPonTANeoUS COsMic RAwXtra

2009-12-28T09:44:00.008Z

19th October 2009 saw the debut concert of my new Ensemble TSCR at new uber venue The Kings Place in londons Kings Cross.TSCR brings together musicians of the calibre of Cleveland Watkiss-Vocals,

Hkb Finn -Spoken Word, Shabaka Hutchens-Clarinets,Rowland Sutherland-Flutes, Brian Edwards - Tenor Sax, Ntshuks Bonga-Alto Sax, Corey Mwamba - Vibraphone, Pat Thomas-Piano, Camelle Hinds-Bass, Otto Fischer-Guitar, and Steve Noble - Drums for its Debut public performance. Using music and soundscapes inspired by Fela Kuti, Sunra,Duke Ellington, John Colrane,Eric Dolphy,George Clinton,Lee Scratch Perry and the Art Ensemble of Chicago as a starting point. This ensemble aims to explore and create its own unique focus on some of the great improvisors from the African diaspora. This concert was also filmed by the Open University and a live multi track audio recording was made as well. A Multi-media installation was kindly provided by brilliant Visual Artists SDNA. I will put up a short taster of the OU film on the net shortly.Here is a link to a review of the debut concert! Scroll down to the 30th October Space is the place entry: http://rhythmaning.livejournal.com/

Nigel Kennedy catches a vibe!

2009-12-28T03:44:00.005Z

10th September saw me appearing with Nigel Kennedy at the Tower of London Festival.I had meet Nigel when I was signed to Blue Note records and we had got on really well.We had spoke about one day working together but Unfortunately a possible earlier chance to perform in his Hendrix Project about 10 years ago didn't work out because of my schedule.We hadn't seen each other since that time so when I bumped into Nigel in the street one day in the summer it turned out that he was about to embark on a project that he thought would be ideal for us to perform together.This turned out to be his Bach/Ellington project for small band and Orchestra.So some rehearsals were hooked up leading to me performing with Nigel's own small ensemble plus the Philharmonic orchestra at the Tower.I had a really good time hanging with his regular Jazz band hailing from Poland who are some excellent musicians and good people. plus English guitarist Doug Boyle. The concert was well received and has now led to a world tour starting early next year. I will be touring in some pretty cool locations and a possible recording is also in the pipeline! Let you know nearer the time where I will be!

Spitalfields festival summer brew 2009

2009-12-28T02:03:00.005Z

Mark Holub cool drummer from band "Led bib " Who Curates the Succesful Summer stew Festival in Spitalfields had kindly invited me to play in the festival this year.The festival is one that happens each year at the end of the summer break in September.The band was a new line up that I had wanted to play with for a while.Steve Noble on Drums,Ntchuks Bonga on Alto Sax and on bass Camelle hinds the mainstay of grounbreaking 80s Britfunk band "Central Line,Paul Weller and his own solo projects" who I have played with in funk bands like the Beggar & Co band. This was Camelle's first excursion into free improv and he really played some fantastic music as did the other guys.The audience were very appreciative and there has also been some positive write ups about the band.I hope in 2010 to do some more work with this band provisionally called "The Lovely Dubley band". Here is a review from the Londonjazz.Blogspot:

"I arrived just in time for the second band of the day, Orphy Robinson’s quartet. Robinson was playing marimba. He created a set of powerful jazz improvisation with a funk-rock edge. And in the process he created a lot of excitement too. Playing a continuous set without pausing between sections, drummer Steve Noble and bassist Camelle Hinds pushed the band along energetically, working quite a groove behind Robinson and altoist Ntshuks Bonga ’s solos. This was fusion of a kind, but behind the drive it was subtle, engaging music".

Bristol Sax Massive

2009-12-28T01:42:00.006Z

I have worked on the Andy Sheppard Sax Massive projects for the last couple of years and they have been performed in Norway,Central London and Opened the London Jazz Festival.
These Sax Massives have all been a lot of fun!This Time round it was a massive organised for the re-openning of the Colston Hall venue in Bristol.This meant trips up to Bristol through August into Sptember.
I must say that Bristol delivered well both in organising and in the level of musicianship displayed by Sax players like James Morton and Mobo Award winner Yolanda Brown who also came up to Bristol for each rehearsal.The massive can have up to 200 sax players at one time performing in its ranks.
On the performance day there were also a lot of other large ensembles involved these included Adrian Utley's 'Music for Massed Guitars', The Emerald Ensemble, Richard Barnard, Cirque Bijou, Charles Hazlewood, Sheelanagig plus female Beat Boxer Bella trix.

I had a really enjoyable time in Bristol hung out with some cool musicians that I will stay in touch with in the future!

David Byrne installation

2009-12-28T00:55:00.008Z

So one of the interesting sessions I had this year was at the Roundhouse in Camden town a huge venue that puts on some varied & interesting programmes of events throughout the year.
I was invited to be a part of the David Byrne (Talking Heads) installation titled "Playing the Building" The public were able to walk around the Roundhouse and interact with the space, primarily through a special organ keyboard that turns pipes into flutes and walls into drums.that had taken over the main space for the summer!

These sessions were really well attended with long queues forming all day in order for people to experience and in the case of some invited musicians to play along with the installation.

This involved an organ rigged up to play everything from the metal beams to water pipes resonating, vibrating, oscillating noise-making with various tensioned wires connected to the Roundhouse building each making a unique sound and ultimately turning the building into a giant instrument!
I was invited to bring along a vibraphone and to introduce a metallic soundscape as an interlude or a duet element into the proceddings followed by me encouraging the people who had come along to experience the installation to join in either with their own instruments or a selection of pitched and unpitched percussive instruments that I brought along for the purpose!It was a great experience and led to some interesting discussions about what is sound? and what is music? I also had someone adamently trying to get us all to play something from the Jimi Henrix catalogue has hendrix had apparently performed there in the Roundhouse in the 1970s. Anyway we finished up with a long queue of people wanting to play my vibraphone after someone had asked to play a couple of notes and that led to loads more curious and eager to have a try. It really was a lot of fun and the totally unexpected and warm feedback from those who attended really rounded up the whole experience on a high note.

Nuff tings happened this year

2009-12-27T21:37:00.006Z

So finally 2009 is coming to an end and 2010 will start! I for one can't wait as I have come stuff coming up that I am really looking forward to! Before that I will do a recap on some of the stuff that I have been up to since I last blogged!

Well I used to ask myself how come I have never done a musical,finally I got the call to be involved in one.But what a mistake that turned out to be.Death by music I'm afraid.Seriously Stabbed in the back by a so called fellow musician!Where do I start?Who cares?It definitely wasnt for me and I finally escaped the second night with another 86 performances to go!
Still I needed to know why I had never been involved in one of these!It's a whole other world to what I am used to dealing with,Politics,loyalties are not the same as in other areas of music.Egos!!!!! Wow! Anyway got out and headed back to London where the first gig I did was an improv one that just brought me right back down to earth and made me really appreciate just how lucky I am to know and work with so many fantastic musicians and people.This was quickly followed by the Beggar & Co funk gig at Summer Soltice that I have written about in an earlier blog!!
Saying all of that, I was asked to appear 3 months later in "Misterioso" A musical about the life of Thelonious Monk Written by celebrated Italian Writter Stefano Benni and adapted and directed by Filomena Campus the Sardinian Director and Musician of note! Awesome music from a band that swung hard,Tony Kofi on Alto,Winston Clifford on Drums,Pat Thomas on Piano and David Leahy on Bass.The whole cast and Crew Delivering a piece of theatre that I could genuinely relate to and pay money to see! Help to Restore some of my faith in the medium called Musical theatre, as I saw first hand that you could combine great Multi-media curtuosy of the best in the business (SDNA), Actors,Musicians,crew and a Director with great ideas to make something that not only told a worthwhile story but moved away from the tired formulaic why of expressing musical theatre that is the norm in the West End of London and Broadway!!Reviews were fantastic and the run at the Riverside theatre in Hammersmith was very successful for Filomena Campus and her team.
Here is a review from Arts Website KultureFlash:
London-based collective Theatralia inject Stefano Benni's play Misterioso with a dose of beatnik heroin. Misterioso explores the relationship of legendary pianist Thelonius Monk with aristocratic arts patron Baroness Rothschild (Pannonica). Jazz aficionados will by thrilled by the ensemble of seasoned musicians, who will transport them to an NYC Jazz club in McCarthy-era America. Tony Kofi blows away the cobwebs with his sax, Orphy Robinson competes with a projection of a '50s cartoon character on vibes, and Pat Thomas' subtle piano invokes the presence of the late Monk, who spent the last seven years of his life in silence. Magical music and audience toe-tapping is given a menacing undertone with Pannonica's tragic anecdote, about a cop hitting Monk's hands with a baton after he asks for refreshment in a whites-only hotel. Misterioso culminates with a projection of Monk rotating like a whirling dervish, a metaphor for
mounting racial tension. Sympathetic direction and uplifting vocals by Filomena Campus, evoke the feel of the Beat Generation's Big Apple Ex-drum and bass MC Cleveland Watkiss brings Monk's narrative to life with his booming voiceover, whilst Thomas is the physical embodiment of the silent Thelonius, chiaroscuro highlighting him like a Zurbaran painting, giving
gravitas to the myth of a musical legend.

Yolanda Charles and Dee C. Lee

2009-07-06T10:01:00.006+01:00

Managed to catch a great set of music at the portobello rd gig 'Inn on the Green' last week from a Brilliant new band led by Bassist/vocalist Yolanda Charles and Vocalist Dee C Lee. The band called 'The Deep Mo' laid down some excellent compositions opposite the very promising new artist Lisa-Marie Falloon who had drum supremo Justin Pickett laying down the funk.Other musicians checking the band and venue out were Karl Van Den Bosch and Noel Mckoy.

The Deep Mo are the tightest of bands leaning towards the sound of the great 'Rufus' of Chaka Khan fame. but with a style and fresh sound of their own. Of course having four musicians of the calibre of Robert Mitchell on Keys,Miles Bould on drums and guitarist Scott Firth and Yolanda on Bass in any band you really do know your onto a winner, as they will always deliver music of the highest quality! Material included some taken from a debut EP out now that is an essential for anyone into good soulful sounds! Keep an ear out for any gigs around town, you will not be disapointed! http://www.myspace.com/thedeepmo

Louis Moholo Moholo new album launched tonight at the Vortex.

2009-07-06T09:35:00.004+01:00

'An open letter to my wife Mpumi' is the title of the new album by Louis Moholo Moholo out on OGUN records.It sees a Sax front line of Ntshuks Bonga and Jason Yarde with John Edwards on Bass and the soulful South African pianist Pule Pheto plus myself on Vibes..Recorded at the later end of 2008 in the Solar powered recording studio at the Hackney Premises.The band play some new compositions by Pule and Jason..Following a couple of shows at the Vortex and an appearance at the EDGE 08 Cecil Taylor day at East london's Rich Mix venue the band had kicked into a new groove of cohesive expressions placed on a bed of funkiness!Not really but something even more interesting was happening resulting in a joyous celebration of the spirit that Louis brings to all musical excursions! Phew! Come along tonight to the Vortex in Dalston to see the band kick ass and present some of the music from the new album!http://www.vortexjazz.co.uk/

Hugh Hopper's Au revoir

2009-06-26T13:07:00.002+01:00

Yesterday was a strange one what with the day ending with the news of Michael Jackson and Farrah Fawcett Majors Checking out as well! However it was also the day when we celebrated the Life of the great Musician Hugh Hopper!
The gathering was held in Teynham an absolutely beautiful idylic spot in Kent!I drove down with Lol Coxhill and Wifey Ulrika quite early in the morning to avoid the London traffic jams at rush hour.It was a really lovely send off with three members of the Delta Saxophone quartet leading Hugh's casket to a clearing in the grounds of the burial site.A simple ceremony was held with some poignant words read out by various members of the family.Guitarist John Etheridge accompanied a song led by Hugh's wife Christine!The proceedings were then brought to a close by the releasing of a White Dove of Peace up into the clear blus sky!We then decamped to Whitstable on the coast meeting up at the Oyster Restaurant which was also the venue for the benefit concert last year!
All in all a lovely day and a perfect send off for Hugh!

Summer Soulstice 3

2009-06-22T10:03:00.002+01:00

On Saturday The third Summer Soulstice took place in Barnet!The weather looked a bit dodgy at first and there was a little drizzle at one stage but not enough to dampen the enthusiasm of the crowds that were making there way to the Soulstice!The Jazz Tent was the first port of call where I managed to hear Djs Jester and Jazzy Ruth Fisher of Starpoint Radio who played some cracking tracks by amongst oothers Lou Donaldson,Jimmy McGriff,Brecker Brothers and vibes player David Pike..The main stage was where most of the activities were focused for the day with volunteers maning stalls and all backstaging duties etc!All Djs played a 1 hour set on the main stage or the Jazz tent with some playing on both like the excellent Bob Jones!Sound crew had a nightmare of a time setting up with things running late plus having to work around the Djs and Bands simultaneously but still managed to do an adequate job in the circumstances!Well done to all concerned!!Beggar & Co and the Funk Jazz collective started the set with a version of Ronnie Laws "Always there" with special Guest Glenn Goldsmith and Ray Carless they delivered a set of classic funk moments including a bunch of kool & the gang originals as well as some slamming funk of their own!All in all a fantastic day in Barnet for a good cause with all proceeds going to a cancer charity.Looking forward to next year Summer Soulstice 4 here we come!.

Cleveland Watkiss & Antonio Forcioni

2009-06-17T23:42:00.003+01:00

Thursday 18th June sees Incredible virtuoso vocalist Cleveland Watkiss and leading Guitarist Antonio Forcioni join forces with Filomena Campus at the Riverside studios in Hammersmith.
The night sees the launch of Filomena's new band with Steve Lodder on Piano,Dudley Phillips Double Bass and Drummer Helder Pack..Be there or be square an action packed night for all concerned.

Theatralia Third Interlude

2009-06-16T20:04:00.004+01:00

Celebrated Sardinian Theatre Director/Singer Filomena Campus puts together another of her amazing shows this Saturday at the Riverside Studios in Hammersmith.This new piece "Third Interlude "sees Filomena Campus together with Saxophonist Evan Parker,Pat Thomas,Mark Saunders and John Edwards plus visuals by SDNA.Expect the unexpected as always with Filomena at the helm anything can happen and probably will! Check out the box office for advance tickets. http://www.riversidestudios.co.uk/cgi-bin/page.pl?l=1239184077 or for futher information you could go to the myspace page on www.myspace.com/theatralia

The Summer Soulstice 2009

2009-06-16T08:13:00.004+01:00

This coming Saturday 20th June 2009 sees the annual Soulful alldayer festival the Summer Soulstice held in Barnet since 2007 by the friends of Andy Weekes who had died of Cancer a year earlier..Each year has seen crowds of between 1500-3000 enjoy a day of soulful funky music with Live Bands and Djs.This year sees the festival headlined by eighties iconic Brit Funkers The Beggar & Co formerly known as "Light of the World" with some very Special Guests performing with the band..I will not spoil the surprise by naming here! Here's a link to the Summer Soultstice website with all the relevant info http://www.summersoulstice.co.uk/index.htm The festival is for a good cause with all proceeds going to local Cancer Charities.This year they aim to raise £7,000+ for the Cherry Lodge Cancer Care..Please come along if you like your music Funky with Fun activities for the kids onsite as well.Its a great day out for all the Family starting from 2pm.This year sees the welcome addition of a Jazz tent..See you there as I will also be appearing with the Beggar & Co band.

Inside British Jazz

2009-06-15T18:05:00.003+01:00

Stumbled upon a link for the fantastic book written by Hilary Moore about the history of Black Jazz Musicians in the U.K. A very interesting read indeed if you get a chance have a read even better go buy the book. Here's the link below:

http://books.google.com/booksid=eWPyjbUd3DYC&pg=PA109&lpg=PA109&dq=gary+crosby+obe&source=bl&ots=OoJ_W8Ph0Y&sig=jS_euiwAzoS-T1K8etbDn1nHGcw&hl=en&ei=DHY2SsKvFZDQjAflzK39CQ&sa=X&oi=book_result&ct=result&resnum=10#PPP1,M1

Gary Crosby awarded an O.B.E.

2009-06-15T17:52:00.003+01:00

Gary Crosby Stalwart of the Double Bass was awarded a well deserved O.B.E in the recent Queens Birthday Honours list. A reward for the hard work that Gary has put in with the various bands and solo artist that have come through the ranks of the various ensembles he has led.

Gary continues to put in time and effort with not only his award winning record Label DUNE that brought musicians like Soweto Kinch, Denys Baptiste, and bands Tomorrows Warriors,Nu Troop, Jazz Jamaica and the Jazz Jamaica All Stars Orchestra to the attention of many audiences around the world. Gary has also invested no little effort in Educating and bringing through young musicians on to the U.K Jazz scene with the recent announcement of an extension to the popular Tomorrows Warriors band with a fully fledged Youth Orchestra arm.

Announcing the launch of The Spontaneous Cosmic RawXtra

2009-06-15T17:31:00.005+01:00

Groundbreaking promoters Twisted Lounge have asked me to curate an event for this years Black History month Celebrations. Tickets have now been announced on sale at the The new Uber plush venue The Kings Place situated in London's newly developed Area around Kings Cross station. Monday 26th October 2009 will see the Debut of a new project of mine The Spontaneous Cosmic RawXtra. The RawXtra has within its ranks Musicians Pat Thomas, Steve Williamson, Cleveland Watkiss, Shabaka Hutchins, Ntchuks Bonga, Otto Fischer,Brian Edwards There will be a few very special surprise guests on the night. I will add some info to this blog plus interviews with some of the members of the The Spontaneous Cosmic RawXtra later. Now the way that the Kings Place promotions work is the earlier you buy tickets the less you pay as it gets nearer to the concert the price goes up so please book early for this one.As its gonna be a cracker!Please visit the Kings Place website at http://www.kingsplace.co.uk/node/2431
or The myspace site of the RawXtra ---

http://www.myspace.com/spontaneouscosmicrawxtra

Hugh Hopper R.I.P.

2009-06-09T01:39:00.007+01:00

I just received the sad news that Hugh Hopper Bassist with Soft Maching and fellow Clear Frame band member has died following a long struggle with Leukeamia..Hugh was one of the most fascinating musicians I have been fortunate to meet on the improv circuit through the coming together of the members of the ClearFrame band. Together with Fellow members Lol Coxhill, Charles Haywood we had performed some well received concerts in the U.K and Europe.

One concert recorded by the BBc Radio 3 team has constantly been one of the most requested concerts for repeat broadcasting by listeners to the popular Jazz on 3 programme for the last 4 years.An album was released by Clearframe with the addition of his fellow Soft Machine cohort Robert Wyatt to critical acclaim..

Hugh was a really funny guy always ready to help anyone in difficulties or just to have a kind word or a smile to reassure you that everything wood be ok!On a Clearframe tour of Austria he had us either in stiches by his observations or entralled with stories about his Soft Machine days and his own prolific projects after leaving the iconic band.
The last time I saw Hugh was with his lovely Wife at the benefit concert in Whitstable where many musicians from the Canterbury scene were performing.Hugh was in attendance and in good spirits in fact he ended up staying a lot longer than anyone had anticipated.A week later there was another benefit held in london at the 100 club featuring yet more musicians that Hugh had worked with in the past.

Hugh leaves behind a fantastic catalogue of work and I will always have fond memories of a humble and kind person plus a giant of the Bass guitar.
For a much more in depth look at his career click on this link::
http://calyx.club.fr/mus/hopper_hugh.html
Jazzwise magazine have written an obituary here:
http://www.jazzwisemagazine.com/component/content/article/51-2009/10854-soft-machine-icon-hugh-hopper-dies-

NO NOW IS SO Alexander Hawkins REVIEWS

2009-06-01T08:32:00.004+01:00

Reviews for Alexander Hawkins Ensemble's debut album are starting to come in..
To have a read of a couple Here are some links one from London:
http://www.vortexjazz.co.uk/cd-reviews/no-now-is-so.html
and the next from the Downtown music Gallery in New York: http://www.downtownmusicgallery.com/Main/news/Newsletter-2009-05-22.html

Snowboy launches book

2009-05-25T00:53:00.004+01:00

Worth reading for all those who were in the scene or not!
A thouroughly entertaining read about a period in London club life when it was the norm for every club to have a jazz dance hour happening in the middle of a Disco club night,where tracks by Art Blakey & the Jazz messengers would see the dance floor taken over by young people for a frenetic sweaty workout!Ably told by DJ/musician Mark 'Snowboy' Cotsgrove Southend's finest. Who delivers a thorough comprehensive encyclopeadic insight into an area of Britains multi cultural heritage that helped to shape a music scene that evolved from humble beginnings into the Acid Jazz scene that was taken up by dancers worldwide, This book is guaranteed to bring back memories for anyone that went to the clubs wore the clothes and bought the music!Foreword by Straight no chaser magazine/Edge 09 stalwart Paul Bradshaw!

Freedom of the City 2009

2009-05-25T00:17:00.004+01:00

I haven't performed for a couple of years at the Freedom of the City festival and I have missed it.The Conway Hall is one of those venues that has an interesting history that encompasses so much of the Improv music history of london That I always feel relaxed as soon as I enter the building.The last time I was there was for an event organised by the Wire Magazine where I performed with John Tchai,Sonny Murray and the Springhill Jack band..the last couple of years I have been busy when the Festival time has come around and haven't been able to be there.
So when I was invited this year by the London Improvisors Orchestra and found that Iwas free for a change I gladly accepted and turned up with my 14 Year old son who was out for the day with me!As always the Orchestra was packed with some of Europes finest players this time a welcome addition was Trumpeter Henry Lowther who was performing a concerto with the Orchestra..
My son throughly enjoyed the 2 hours of music performed which included me filling the Piano chair briefly while Steve Beresford performed a conduction!six memebers of the Orchestra performed conduction these included Guitarist Dave Tucker,Violinist Alison Blount,Bassist Dave Leahy,Bamboo flute/Spoken Word specialist Terry Day..There is a review of the concert at the folowing blog:http://netnewmusic.net/reblog/archives/2009/05/review_the_free.html

Edge 09 forum on Afrobeat with LEMI GHARIOKWU &TONY ALLEN

2009-05-24T23:55:00.003+01:00

Afrobeat: A Culture – The Edge09 Forum featuring Lemi Ghariokwu & Tony Allen

Edge09 in conjuction with BASS festival presents AFROBEAT: A CULTURE – a forum for all Afrobeat headz with a stellar panel that includes Lemi Ghariokwu (The Man responsible for Fela’s artwork), Tony Allen (Afrobeat Master drummer), Rich Medina (Jump’n'Funk NYC), Wunmi (Afrobeat Queen), Dele Sosimi (Keys/Egypt80). The discussion will be hosted by Paul Bradshaw (Edge09/Straight No Chaser). Join us and a host of invited guests to assess the global impact of Afrobeat – a culture of creativity and resistance.

Forum – Weds 10^th June @ 1pm-2.30pm

Exhibition Art’s Own Kind – 8 June – 6 July 2009

Rich Mix, 35-47 Bethnal Green Road, London, E1 6LA

http://artsownkind.wordpress.com/2009/05/22/the-edge09-forum-with-lemi-and-tony-allen/

Edge 09 On the way announcing some upcoming events

2009-05-24T23:16:00.006+01:00

Last year Paul Bradshaw from Straight no Chaser Jason Jules and myself put together some events That we termed Edge 08 as a fringe to the London Jazz festival.These events included a documentary screning of Four Hands a film about Cecil Taylor. FUTURIZM a night dedicated to new young artist, FREEDOM PRINCIPLE music sessions,A photography exhibition and a sold out Dingwalls session with DJ Giles Peterson..This year EDGE 08 becomes EDGE 09 We will be bigger and better with some thought provoking sessions planned.
To kick off the EDGE 09 Experience we will be announcing various sessions in the coming months with events starting earlier this year than last year..
One of these upcoming events will be a celebration of UK jazz dance.UK Jazz dance is an art that was honed in bedrooms and on the dance floor. Edge 09 will revisit the scene at Cargo with Cuban rumba from Dilanga in the yard and a live twisted jazz set from The Mighty Jeddo in the main arch. DJs Gilles Peterson & Snowboy will set the scene for some fast and furious competition on the dancefloor from the dancers who carry on the legacy of the movement. As well as book signing and record stalls, Dick Jewell's legendary film The Jazz Room will be screened alongside other classic shorts.
This is all in to do with the publication of Mark ‘Snowboy' Cotgrove's book, From Jazz Funk & Fusion to Acid Jazz: The History Of The UK Jazz Dance Scene, Edge09 + Straight No Chaser has got together with The Barbican to celebrate the unique, underground, UK dance jazz movement which gave us aggressive, innovative and stylish dance crews like IDJ, Jazz Defektors, Brothers In Jazz, Foot Patrol, Floor Technicians and Jazzcotech, along with a host of highly individual dancers.

LIVE: THE MIGHTY JEDDO + DILANGA
DJS: GILLES PETERSON + SNOWBOY

3-12

£10adv, £10 otd

TELL YOUR FRIENDS THIS WILL BE HOTTER THAN JULY,BOOK EARLY AS THESE TICKETS WILL GO FAST!!!

EDGE 09

2009 All Party Parliamentary Jazz Awards

2009-05-24T21:45:00.007+01:00

The All party Parliamentary Jazz awards is one hell of a title for an awards night,it's also a very different venue to have anything to do with Jazz!!Never having been invited to one before I was intrigued as to what they would be like! So having finally received an invitation after first finding out that I had been nominated in the Jazz Educator category through the internet then having to chase up an invite that eventually just days before the event.I think I kind of knew already that this was just a chance to party in a very different place than normal..
Well I went along with my son on Wednesday to the Houses of Parliament for the 2009 Awards. Had some food, drank some wine and then it was over! To be nominated was enough recognition for and some of my students who are out there giving a good account of themselves..I had a good time chatting to fellow musicians and friends and catching up with news and views etc,these kind of affairs are normally places where you bump into people you haven't seen for ages probably because you are all normally out there working rather than talking about it! ..Darren Taylor of Jazz reloaded was a worthwhile winner collecting the Best online publication for Jazz with his online magazine.http://www.jazzreloaded.com/blog/ The Jazz reloaded team who have been doing some fantastic work going out to gigs and not only those they get free tickets for? Darren has around him a really good team who put in a lot of hard work and deserve some exposure!!They themselves are supporting talent and getting some exposure for many new artists who the mainstream press are very slow at getting any handle on normally maybe because they have to pidgeon hole them first!!!Kevein Le gendre was also a popular winner on the night in the best journalist category.Kevin is one of those writers who again gets out and about checking out much of the interesting and not so obvious creative people out there and always comes across with a genuine love of the music and people that he interviews! Which is probably why he tends to get exclusives from so many cutting edge musicians!!He also leads successful writing workshops for young writers each year as part of the London Jazz Festival!Other notable winners on the night were Val Wilmer for services to Jazz,Jazz musician of the year went to Guitarist Phil Robson whose award was collected by Vocalist Christine Tobin.
Anyway that's the awards for this year over with so now back to Music!
Visit this link for the official list of winners!!

http://www.ppluk.com/en/News--Events/Latest-News/WINNERS-ANNOUNCED-FOR-2009-PARLIAMENTARY-JAZZ-AWARDS/

Rehearsals finally get under way on "Once on this Island"

2009-05-14T12:51:00.002+01:00

So finally we have arrived at the first week of rehearsals for the long awaited return of the musical "Once on this Island"Written by Stephen Flaherty and Linda Ahrens the writers behind the excellent musicial "Ragtime" "Once on this Island" contains some absolutely cracking songs and arrangements..This version is the first in 15 years in the u.k.Martin Lowe of "Mama Mia and Jerry Springer the Opera fame has been drafted in to work in vocally direct the cast and I will Musically Direct the show!So far we are sailing along and enjoying the incredible vocals from a truly first rate cast led by Sharon D Clarke and Melanie Le Barrie..Martin Lowe is an absolutely fantastic vocal direcor so it's a real pleasure to observe him in full flow..A great learning experience as well for me and I intend to make the most of the next 3 months. I will put up updates as the production gathers momentum leading up to the first night in the Birmingham Rep.here are websites if you want to get along to one of the shows on the tour.

New Alexander Hawkins Ensemble Cd out now on FMR Records.

2009-05-14T00:00:00.008+01:00

The debut Alexander Hawkins Ensemble Cd featuring his new ensemble is released on FMR Records mixed, mastered,packaged and ready to go cased within a lovely cover photograph by his brother with Sleeve notes by Steve Beresford the long awaited release finally hits good stores and Gigs..Titled "No now is so" Check it out it's got some wonderful playing by a stellar cast of players from Alex himself on Piano duties and of course writing some excellent music as well as arranging music by composers like Anthony Braxton etc.The ensemble members are Spanish Drummer Javier Carmona on Drums,Otto Fischer Guitar,Dominic Lash on Double Bass and Hannah Marshall Cello and myself on Steel Pans and percussion duties. Recorded at the end of a critically acclaimed Uk tour last year the album catches the Ensemble at a crucial time in their developement!Anyway check it out and see what you think!
http://www.alexanderhawkins.com/index.html

Album now out "BURN OUT MAMA"

2009-05-12T08:00:00.005+01:00

Finally the waiting is over the "Burn out Mama" debut cd "OUT OF OFFICE" hits the shops this month!As well as the music created for the mama project An amazing amount of time and effort was put into getting the artwork and info looking good as well.This ably undertaken by Reija Lang who leads the project as well with her vocals.Reija has a design background and has brought that sensibility to this project in a big way achieving a very different look from anything else out on the market with an elaborate pullout CD sleeve that has now attracted attention from some very hip names in the design world. This has led to the Cd being picked up by people outside the normal Jazz Cd buying punter market! The album was Launched at the huge music industry convention in Bremen and the feedback has been remarkable.Fingers crossed that this interest transfers into gigs and sales!Anyway you can now purchase the album on itunes,amazon e.t.c.

Here is the website address for Burn out mama: http://www.burnoutmama.com/

Jazz on TV

2009-05-12T07:52:00.003+01:00

Here is something that you might want to look out for I have reprinted the info exactly as I got;

Hi Orphy,

Since we love and respect the Orphy Robinson Blog, we wanted to make sure you were aware of the biggest jazz event to hit TV this year. Icons Among Us: Jazz in the present tense has garnered attention from both the New York Times and The Los Angeles Times and we wanted to get you in on this exciting film.

“Icons” includes much well-filmed footage of musicians performing and rehearsing in clubs and studios. They include Terence Blanchard (who also serves the role of wise elder in interviews); Jason Moran; the Bad Plus; and Medeski, Martin and Wood. These purely musical sequences are the major attraction of the program: they indicate what current jazz musicians are actually up to. - NY Times

Icons Among Us: Jazz in the present tense is a documentary film series that captures the metamorphosis of jazz by showcasing the words, music, and spirit of the artists that are paving the way for an unprecedented musical evolution.

The four-part documentary film series examines the world of contemporary jazz looking at today’s brightest talent. Featuring live footage and interviews, the films include many current jazz icons including The Bad Plus, Terence Blanchard, Jason Moran, Ravi Coltrane, the Benevento-Russo Duo, Robert Glasper, Charlie Hunter, Brian Blade & the Fellowship Band, the Dirty Dozen Brass Band and Medeski Martin and Wood. The films also features these performers’ legendary predecessors and influences including Herbie Hancock, Wayne Shorter and Wynton Marsalis.

The Documentary Channel will present the film in its entirety Wednesday May 27^th and Wednesday June 3^rd starting at 8 pm EST. Check out the website for detailed information: http://www.iconsamongus.com/

To learn more about the film, view the preview and get access to images and info go here: http://www.arielpublicity.net/clients/2545

Interviews Available With Executive Producer John W. Comerford

John W. Comerford is an award winning writer and producer of independent film and media. He is President of PARADIGM STUDIO, a film and television production company in Seattle and serves on the board of The Seattle International Film Festival (SIFF). SOMETHING ABOUT HIS RELATIONSHIP TO JAZZ & MUSIC (noone cares that he graduated from UC Boulder)

Icons Among Us on Facebook and Myspace

http://www.facebook.com/iconsamongus

http://www.myspace.com/iconsamongus

Thank you for your time!

Katie Simons

Surprise Surprise I got nominated!

2009-05-12T07:30:00.004+01:00

Received the news out of the blue that I had been nominated for an Education award the other day. A shock as I have been happily working away in so many different categories for years that are not exclusively Jazz orientated whereas this nomination is for recognition by the All party parliamentary Jazz appreciation group! The students on the live Jam course at the Roundhouse venue in Camden are out and out Rock students who have no idea I play Jazz and would probably be very amused to hear about it! Anyway I have now been invited to the awards ceremony on the 20th May to see who picks up the award at the Houses of Parliament.There are some people nominated for recognition for the first time that have been doing some great work like Jason Yarde in the Jazz Musician category and Kevin Le Gendre for a Journalist award as well as Darren Taylor for his fantastic work with his Online news and views website www.Jazzreloaded.com so it should be a great occasion to catch up with the guys as well! Here is the full list of nominees: http://www.ppluk.com/en/News--Events/Latest-News/2009-PARLIAMENTARY-JAZZ-AWARD-NOMINATIONS-ANNOUNCED/

Recordings imminent releases

2009-03-04T10:01:00.002Z

Alexander Hawkins album is now ready and being pressed as we speak.Really looking forward to this release as the band does have a special sound!
Burn out Mama (Out of Office) The same for this album we should have copies in the next couple of weeks.The Art work looks amazing!
Grewtronic Recently heard the mixes for The grewtronic album and they were definitly on point.Expecting to receive Cds soon.

Rowland Sutherlands Creative Force Gig

2009-03-04T09:55:00.001Z

Date:	12 March 2009
Time:	19:30 - 22:30
Location:	Charlie Wrights International
Street:	45 Pitfield Street, Hoxton, N1 6DA
Town/City:	London, United Kingdom
:	View Map Google MapQuest Microsoft Yahoo

Phone:	02074908345
Email:	info@charliewrights.com

Led by the dynamic flautist Rowland Sutherland, featuring award winning vibest Orphy Robinson and a special lineup.The finest blend of jazz with reggae, dub, funk, African and Brazilian grooves within colourful originals, making Creative Force an experience not to be missed!

Rowland Sutherland - Flutes
Orphy Robinson - Vibes/Keyboards
Fayyaz Virji - Trombone
Phil Dawson - Guitar
Simon Thorpe - Bass
Rod Youngs - Drums

Followed by jam session.

Ok Here we go again February update

2009-02-12T04:11:00.003Z

Been quiet on the Blog front for a few weeks as I have had my head down making decisions and trying to earn a crust!Filled in for 3 weeks for a friend at a local school music department which as turned out to be a real pleasure meeting and working with quite a few promising young musicians in the process. Actually found some checking out youtube for videos of musicians like Victor Wooton,Bernard Pirdie and other equally great musicians.Which was a real departure from the regular Pop chart X factor fodder I encounter in most schools!
Had the finished mastered copies of two of the six albums that are coming out this year that I have been lucky to play on.The first from the Grutronics stable lead by Pianist Steven Grew and the second from the debut album of Burn out Mama "Out of the Office" we are now waiting for the packaged Cds to arrive.
At the moment I'm reading a script and going through the music of a Musical Directed by the fantastic Theatre director Susan McKenna of Hackney Empire pantomime fame which every year is the leading panto in London.I will be the Music Director for the return of a broadway musical "Once on this Island" from May through to August.A bit of stability for a while will not do any harm!
This month sees the return to London of ace Pianist Keyboardist Joe Bashorun from living for seven years in Canada.He has now added the Drums to his Cv and judging by the videos I have seen on the net he will be quiet a welcome addition to the drum community here.Joe was in my band Annavas and wrote some of the music on both albums I recorded for Blue Note records.
It Will be great hooking up again to work on some material and gigs.next blog will contain some news on Edge 09.

HISTORY

2009-01-21T09:42:00.001Z

YES WE CAN!

2009 here at last

2009-01-01T17:39:00.003Z

Well its been a curiously strange year for me as I tried to limit myself to less projects than normal in order to just take some time out and decide what next? Some pretty big decisions have now been made and hopefully will turn out for the best..
The Edge Fringe Festival was a real highlight with plenty of potential for the New Year! Watch this space for some exciting news in the New Year regarding some more Fringe events!!!
There are 3 new Records coming out he early part of the year that I have played on these are the
Alexander Hawkins band...The Burn Out Mama...Louis Moholo Moholo Band.
Beggar & Co will also have a new release for the middle of the year.
I have also been sifting through some recordings held in the vaults that might be put out in the New Year also with a possible new solo album in the pipeline..
Here's to a great 2009 for all!

Jazz Alive End of Year

2009-01-01T17:32:00.003Z

So finally 2008 has finished and we are heading into a hopefully better time than the one just finished..December saw the finish of the Jazz Alive project with the students performing to an audience of their peers plus some celeb Jazz performers turned up to show their support.
Courtney Pine kindly dropped in and presented some Arts Awards plus Mercury nominated pianist Zoe Rahman also presented some awards to all those students who took part in the course..
Darren Taylor Bassist and one of the hardest working and supportive musicians on the scene was also in the audience and giving words of encouragement to a willing and quite a bright bunch who
I hope will go on to better things in the future..
Positives for the year are moments like conducting the 100 strong Saxophone Massive in Norway at the Stavangar festival in May..Met some fantastic people and had a great time.
The first Blanche Neville concert with the young people with hearing difficulties wow didn't they give a good show plus the poet Baden who stood in at the last minute for a yet again missing poet who shall remain nameless!
Beggar and Co at the Jazz Cafe,Louis Moholo Moholo at the Vortex.Alexander Hawkins at the Vortex.Tony Bevan Bruise at the Voretx where all highlights for me..
The Roundhouse Live Jam and Junior Jam students gave their end of term concerts to a full house of eager friends and Families..
The N.L.O project with Sound came to an end and was really well received resulting in an offer to come back and continue the good work that has been started.
International Fluatist Keith Waithes who had been working on a 3 month project in my regular school brought his project to a successful conclusion!
The only downer for the year was probably the "Rich Mix" Debacle during the festival but hey they had pretty low standards to maintain and they sure struggled to even reach those!!

Harry Beckett the new album

2008-12-14T13:29:00.005Z

About 3 years ago I was invited to play on Harry Beckett's latest album release.It was a really enjoyable session held at Adrian Sherwoods ON-U sound studio then in Wood Green..The session was led by Adrian himself and Louis Beckett with some wicked soundscapes,samples and Dub Bass lines that had me laughing for days..It's an album that I have been looking forward to hearing the finish product for so long that I began to wonder if it would ever see the light of day! I had wondered what had happened to the released of the album but I understood from Harry that they were dealing with some stuff regarding record companies,distribtuion and release info etc..however it's now finally surfaced on Adrian Sheerwood's brilliant label ON-U sound label and is getting some pretty serious notice from Djs,media etc as it should do!
Harry Beckett being one of the stalwarts of the Jazz scene in the U.k since arriving from Barbados in the fifties continues to play in cutting edge projects to this day not content with easy listening music or the finger clicking Hip cats we see out and about at various gigs!Anyway please check the album,go ask your local store to make sure they get it in and not just for christmas..
Here is a link to a review in the Independent,however ignore the "rather repetitous" line put in by the reviewer near the end of the review as it's silly!After all it's DUB!
http://www.independent.co.uk/arts-entertainment/music/reviews/album-harry-beckett-the-modern-sound-of-harry-beckett-onu-sound-966579.html

Hugh Hopper Benefit 1

2008-12-14T10:35:00.003Z

Friday night I was invited to Whitstable in Kent right on the coast to play at a benefit gig for the great 70s Jazz Rock Bassist Hugh Hopper of Soft Machine Fame.Hugh had been diagnosed earlier this year with Leukeamia and has responded well to treatment. I drove up with Legendary Saxophonist Lol Coxhill who has played many times over the years in various Bands with Hugh including the "ClearFrame" band that we are both members of. It was a great night with a full house and some fantastic musicians supporting.Hugh and family were also able to put in an appearance to catch some of the evenings performance.
Well done to all the organisers for putting together a good interesting programme plus a real bonus in finding such a great venue..There will be another benefit this Sunday at the 100 club in London..

The end of a manic week

2008-12-07T17:42:00.002Z

This week started with a full days rehearsal of the remaining material for the second half of the album I have been recording with the "Burn out Mama"group. A very intense and focused day indeed.This was followed by the first day of recording on Tuesday.
We managed to finish the day ahead of schedule which put everyone in a very good mood for the rest of the week..
Wednesday saw me go first to the Roundhouse to teach a percussion class followed by another 10 hours recording with "BOM".We then finished all the remaining tracks ready for the start of mixing the album tracks the next day.
Thursday we changed over to the mix studio at Livingston studios and started the mixing process plus tidying up of some loops that we have been editing...I then went over to the Roundhouse in the afternoon to set up that nights show with the Jazz Alive students.. Again both myself and Soweto compered the show..There were other performers and poets from the Roundhouse courses plus the amazing Drummer Tony Marsh conducting a piece with the A.S.A.P ensemble who are based at the Roundhouse.A really positive night with some good feedback which is pointing to a regular monthly show in the Theatre there.
Friday morning saw me back at Livingston studios while the band and engineer Mike Buddy listened intently to tracks highlighting stuff that needed closer inspection etc..I then left in the Afternoon for the Jazz Cafe to do soundcheckwith Beggar & Co.That nights show had Some nice music plus some classic soul tracks that had the crowd funking merrily homewards after a 2 1/2 hour set..
Saturday morning saw me driving across town for the Jazz Alive recording session in Peckham.The idea is to record a couple of tracks that show a good representation of the kind
of work they had been doing during the 3 month course it really was an early start for all concerned that unfotunately was held up by some technical issues.This meant us really having to compromise on the quality of the audio sound committed to CD in order to keep within the time constraints of the studio booking..A good insightful lesson for the students into the things that can go wrong in the creative process? Followed by a quick drive to the Jazz Cafe for soundcheck and a run through with Drummer FrankTontoh who was depping for the regular drummer.The gig was one of the best we've done with a full house enjoying a band seriously funking for fun!

BEGGAR AND CO at the Jazz Cafe 5/6 December 2008

2008-11-30T11:02:00.001Z

Here is a link to the Beggar and co nights at the Jazz Cafe..
http://www.jazzcafelive.com/newsandevents/templates/bookings.aspx?articleid=352&zoneid=1

A hectic week

2008-11-30T10:22:00.002Z

Today starts a hectic period of gigs,recording and teaching.No idea how I will get around to cover it all. Starting with an intense day of learning music for the "Burn out Mama"sessions.
"Burn out Mama" is a group put together by two musician from Finland.Virtuoso Trumpet player Mika Molyari and Award winning Vocalist Reija Lang.The idea is a collaboration between Finnish and English musicians, so along with myself there are musicans Ed Jones the Tenor Saxophonist of US3 fame and Geoff Gascoigne Bassist with Jamie Cullen.
Since the early part of this year we have been travelling back and forward to Helsinki writing, arranging and rehearsing original music which resulted in a live show in Helsinki to try out the materialin front of an audience.that fortunately was favourably received by the audience and the media leading to an invitation to record a radio broadcast by YLE the finnish national broadcaster.
The band at the same time took the decision to record an album of which half was recorded at the YLE studios a sort of Abbey Road studios equivalent.The idea being that the rest of the album would be recorded in London.This week the London leg and the second half of the album will be recorded and mixed.
So it's looking like a pretty full on and intense week.As I also have the "Jazz Alive" concert at the Roundhouse with some bands and Artist from various music courses that take place at the Roundhouse during the year invited to perform on the line up.."Jazz Alive" is a project that saxophonist Soweto Kinch and myself have been leading for 3 months with 25 students.They played a couple of live concerts a fortnight ago one at the Festival Hall Ballroom as part of a Herbie Hancock inspired day at the 2008 London Jazz festival,quickly followed by their appearance later that day at the Hoxton Hall "Futurizm"night in the 2008 Fringe festival "Edge 08"Where they gave a good account of themselves..A review is elsewhere on this blog.
Added to the mix of my Hectic week is two nights at the end of the week that I am performing with the "Beggar& Co"band at the "Jazz Cafe" backing "Junior Giscombe" and "Freeze" vocalist "Ingrid.but of course at the same time as I'm doing the "Jazz Alive" night at the Roundhouse I should also be at rehearsal for the "Beggar & Co"Show!Typical full on mayhem week!

Jazz Alive info for 2008 dates

2008-11-24T17:22:00.000Z

jazz alive dates

2008-11-24T16:47:00.003Z

New Accapella album ‘Vocalsuite’ The Studio Sessions..

2008-11-23T23:16:00.001Z

New Accapella album ‘Vocalsuite’ The Studio Sessions..

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Steve & Pat on form at the Edge!

2008-11-23T09:44:00.008Z

Last night was my first ever visit to Charlie Wrights International venue in Shoreditch..
This Venue really could be described as intimate as the audience are nearly sitting in the band.
The buzz of anticipation for this great lineup was shown by the queue outside and the amount of people hoping to be on the guest list however the list was seriously tight last night with not much joy even for journalist,Which in one notable case might just backfire for the venue in the future! Anyway I was lucky as I got my guest list request in early.
Pat Thomas,Steve Williamson,Roy Campbell and Roger Turner hit the stage early for the first set and did not disappoint as they tore into some fiery Hardcore Free Jazz that looked to have shocked a few people in the crowd who have obviously not been paying attention to changes and growth that have taken place within many musicians on the scene.
Pat and Steve first met and played together at my Solo Summit Festival in 2002 as a duet, meeting up again last year at the Oxford "Cohesion" Festival,where they left a discerning audience spellbound with some amazing music.
I first met Roy Campbell the incredible Trumpet player and Flautist from the U.S, when Pat
and myself were invited to perform at the brilliant "Outside in" festival in Newcastle a few years ago in fact that was were I first heard the powerhouse Drummer that is Roger Turner,Anyway we hit it off immediately with subsequent gigs and recordings happenning in various settings since then. Roy always brings some great playing and compositions to the table as well as a great personality.Tonight he did not disappoint with a non stop supply of lyrical and harmonic invention equally matched by Steve and Pat who just took the music and sounds further and further up to new heights at every twist and turn of the music, propelled by Roger Turner's percussion masterclass drumming!
Tonight the first set was on fire but the second set really took off with Pat taking a central role on Charlie Wrights new Steinway piano and cleverly using vintage prophet 5 sounds and Korg MS synth sounds to drop bombs and amazing soundscapes that further urged the rest of the musicians on to create some epic moments..Steve Williamson really moved the assembled room of respected musicians with his solid majestic Spiritual tones and awesome virtuoso technical ability on Tenor Saxophone.
It was interesting to observe one of the Japanese Baritone players from the10 piece Baritone band that have been going down a storm through the London Jazz festival,As he was watching Steve play you could see how much he was excited by his playing by how much he was smiling!When I spoke with him afterwards this only reinforced this view by him asking
"Why are they not in Big VENUE, it's amazing" Why not indeed?Hopefully this group can record and put something on a label soon.Watch out next year for Steve joining up with my "Routes through Roots" Ensemble I think it could be absolutely on fire!
The gig was recorded by BBC Radio 3 for broadcast after the festival so look out for it and enjoy..

A RICH MIX UP!

2008-11-19T22:38:00.004Z

We had to cancel the gig and film "Leimert Park" because a new verbal contract was presented on the afternoon of the screening and gig that we considered unworkable at such a late stage,
Of course we then had to pull the gig, Which meant phoning,emailing e.t.c around to warn as many people as possible not to go!
We had really put a lot of work in advertising and networking the night The BBC Jazz on 3,Giles Peterson had done a Podcast specifically for the Film,Radio London's Robert Elms interviewed Paul Bradshaw, An Italian Journalist and a Top Japanese Journalist were also flying in to review as well as some Quality Broadsheets were showing up to review the film and the night!plus we had such a great lineup of Musicians ready for a funk filled live session! (I can't even tell you what went down with the The Rich Mix Damagement and their really informed opinion about the style of music that would be played that night) but they added the were taking into account the musical taste of their Clientele who might not be into our music! As if I gave a toss what their clientele liked or didn't like as they were not our clientele and should not be in the part of the venue that we were going to use,They would not of payed to hear anything! need I say more! but If that also included the musical choices of the Thief that nicked my Laptop, maybe they should change their style of Clientele) but I do know there's a saying "What goes around comes around!"
Watch this space in 2009!

URGENT NOTICE

2008-11-19T22:35:00.002Z

URGENT NOTICE

The UK premiere of LEIMERT PARK: The Story Of A Village in South Central

CANCELLED

Hi Everyone,

We are massively disappointed to have to inform you that due to irreconcilable differences with the management at Rich Mix, tonight's event has had to be cancelled.

Our sincerest apologies for the inconvenience, we tried 'til the very last minute to retrieve the situation but to no avail.

Please inform anyone else you may know who had made plans to attend tonight of this dire situation.

Yours,
Jason Jules,Paul Bradshaw,Orphy Robinson.

LEIMERT PARK Screening tomorrow Wednesday 19th November 2008

2008-11-18T17:03:00.003Z

LEIMERT PARK:
The Story Of A Village In South Central
A film by Jeanette Lindsay

Hosted by Gilles Peterson this moving documentary will be shown at Rich Mix, 35-47 Bethnal Green Rd. E16LA on Wednesday 19th Nov. @ 8pm. Fee: £10.00 inc. TheFresh Mix Live Session!

ABOUT LEIMERT PARK

In April 1992, Richard Fulton, a formerly homeless man who had been living on Los Angeles' skid row, opened Fifth Street Dick's coffeehouse in the South Central Los Angeles neighborhood of Leimert Park. A few days later, the 1992 Los Angeles riots broke out. For five days and five nights, a group of dedicated merchants and artists stood guard to protect their village from the fires that raged through the streets of South Central Los Angeles.
Richard's coffeehouse soon became a gathering spot for the community, and ultimately sparked a remarkable underground renaissance of African-American art and culture. Leimert Park became a stopover for world-class jazz musicians who might drop in to jam until 3 or 4 in the morning. The sidewalks overflowed with people of all ages and races absorbing the jazz, hip-hop, blues and spoken-word poetry performed in the park and various music venues.
Told through the powerful words, art and music of the community, this film articulates and celebrates the profound struggles and deep spirit of the extraordinary artists and musicians who transformed a few blocks of modest storefronts into a vibrant and inspiring cultural oasis. Intimate and compelling, Leimert Park is a universal tale of the struggles and triumphs of artists everywhere and of the power and importance of art and music in our lives.

All net proceeds from the distribution of this film are slated to go back to the community to support the arts and culture.

STRAIGHT NO CHASER'S ANDY THOMAS TALKS TO ANDY THOMAS TALKS TO THE FILM'S DIRECTOR JEANETTE LINDSAY.

How did you come to hear about the Leimert Park community and what made you determined to let the world know the story?

Jeanette: I initially found out about the Leimert Park community from a class on jazz history that I was taking at Antioch University in 1997. The teacher told us about Leimert Park and then invited the class to a performance of vocalist Dwight Trible and his band at the World Stage in Leimert. I remember being deeply struck by the community. There was a very creative vibe there and it resonated with me. I had always longed to be part of a community of artists and that was exactly what I saw going on down there.

What made me determined to let the world know about Leimert Park was partially my passion for art, but also being struck by the interaction of artists within a community. I could see how important it was. It was something I had always longed for, and here it was in LA, and I had never even heard about it. I couldn't believe that this was going on here, and I had known nothing about it. It was completely under the radar of the media. This was a real art and real music springing organically from a community. It wasn't about the money. It was about self-expression and community and beauty. What is the real value in art? I mean, what is the role of art in our society? I don't think that art is something that is put on a pedestal in some big white museum up on a hill (I'm referring here to the Getty Museum in Los Angeles). I think art is something that should be integrated into our lives and a part of our communities. I think art is the measure of a culture, how art and artists (and when I say art and artists I mean music, I mean visual art, I mean dance, all of that) are valued ... how it's viewed, respected and treated by society, by the people. I think it is integral to our understanding each other, respecting each other, and building peace and community.

So back to your question, what made you determined to let the world know this story…. To put it more succinctly, I was inspired by what I saw occurring in this community. The beauty and the love ...that creativity. It was something that I had never experienced, particularly not in Los Angeles. And I was bothered by the fact that I did not know that this was occurring right here! I live in L.A., I read the paper. But I did not know that this area of LA existed, and I did not know about the artistic community going on down here. That seemed outrageous to me. So I decided (with a great amount of naivete) that I would document it. I felt it was important to tell the story of this community to Los Angeles, and the United States and the world. To share, to celebrate, to be inspired by Leimert Park.

Was it important for you to show a different side to this blighted area and to break down the clichés around South Central?

I don't know that I would call this area “blighted” particularly, so I'd like to address that first. Perhaps the dictionary definition of blighted is correct, but the word blighted to me implies a hopelessness. And I don't see that in this area. Perhaps I would refer to it as a forgotten or ignored area of Los Angeles. There are areas of LA that are blighted, definitely, but this would not be one of them. Now in the 80s, things were very different in Leimert Park – or so I am told. There was a good deal of gang and drug activity in the park and people were afraid to go out at night. But after the uprising in 1992, things changed significantly.

There are still some “run-down" areas surrounding Leimert Park. But this area historically has been predominantly middle-class and working class. Leimert Park itself has been referred to as a “hidden jewel.” The homes - as well as the people -- are quite lovely there.

That's not to say that people there don't struggle. They do, they shouldn't have to, but they do. I think part of that is due to the misconceptions about South Central.

It was important that I show a different side to South Central to correct some of the misconceptions about the area in general - to introduce people to a different side of Los Angeles and erase some of the stereotypes about the area and the people.

The film opens with Kamau Daaood’s words about Leimert Park being a “sacred place and a gathering spot for an army of healers”. Did you feel that spirituality when you first went there?

Leimert Park has a vibe - a heartbeat. I think the warmth and the spirit of the people and the artists can be felt there. I think it was that very spirit that inspired me to make the film and made me believe that I could actually do it!

Richard Fulton talks about the importance of music to the harmony of the
community. On what level do you think jazz acted as the gel for the people to come together?
“Jazz is improvisational and it makes people improvise in their own minds…” Those are Richard’s words, but I agree with them wholeheartedly. Jazz and the improvisational aspect of the music represent an inclusiveness. The music says to me – “hey, let me hear what you have to say about that”. It gives musicians an opportunity to express in ways that other music doesn’t. It is that freedom and acceptance that I believe has an effect on the listeners. It flows through the music. And of course a great rhythm section doesn’t hurt either.

Playing music and letting the music spill out onto the streets – it kind of envelopes in a warmth that is palpable…

Cats like Kamau Daaood and Horace Tapscott had of course experienced the Watts Riots of the Sixties. How important was that in helping them bond with the younger generation?

I’m not sure how the experience of the Watts riots in the 60s had an effect on the elders bonding with a younger generation. I do think that the experience of living as an African American in the United States creates a common bond. It is something difficult for outsiders (me being an outsider!) to fully understand. We just haven’t grown up dealing with that and with all the subtle aspects of racism in this country…

Would you agree that seemingly small gestures like Richard Fulton setting
tables outside so people could play dominoes became powerful symbols of
resistance?

To me, it is small gestures like setting tables outside on the sidewalk that are the most powerful symbols of resistance. I believe this for a few reasons. It shows the difference that one individual can make in a community and it is the accumulation of small gestures that over time creates powerful and lasting change. I think most people believe that in order to make a difference or “change” things, they have to do something “big.” This is what gets the attention and these “moments” seem to come out of nowhere. But it is the seeds that people like Richard plant that create the fertile soil for the larger changes.

How important was it that music was taken out onto the streets at the same
time as the fires were burning?

Music wasn’t taken out onto the streets at the same time that the fires were burning. People were too busy helping each other and ensuring that their businesses didn’t burn down! It was after the fires were out and things had calmed down that people began to gather at Richard’s coffeehouse. They needed a place to gather, to heal, to talk, to comfort and Richard’s coffeehouse provided a forum for this to happen.

I think having that space and enlivening it with art and music is crucial in times of crisis – it creates a space to heal.

Kamau Daaood talks about the lineage from The Watts Writers Workshop to the poetry sessions at The World Stage. To what extent was the explosion of spoken word a reaction to the riots?

This is pretty much an extension of what I was talking about before – having a space to heal. Music and art are such important tools for change and for healing. The World Stage provided a forum for expression and the structure of a safe supportive workshop to do it within. Vitally important. After the Watts Riots in 1964, a number of artists from the Watts Arts Center went around and gathered “junk” from the burned buildings and created a series of artworks that eventually circled the globe. The exhibit was called “66 signs of neon” and it launched the careers of a number of artists. I mention this because I think what is most notable is that artists are able to take an act of violence, to take the cast off remains, to take the pain of experience and transform it into something beautiful. Artists – true artists – are healers and an integral part of a community.

Michael Datcher recalls how gangsters left the area alone, some even becoming spoken word artists. What does that say about the power of the arts and of the oneness and acceptance of this community?

I think I have answered this above. In the end, we are all human. And the gang members are – yes – gang members but they are also a part of a larger community. The artists and what Richard was doing was helping the community. It was good for their people. They could see this and they respected it. I think art speaks to a deeper part of ourselves…

What role does Leimert Park play now?

Ahhh. Difficult question. Leimert Park is at a crossroads. Not only was it hit with the untimely deaths of some of its key figures, but like the rest of Los Angeles (and the U.S.), Leimert Park was caught up in the real estate frenzy. Several of the properties were bought by investors outside the community – who have no interest in the community itself, only in making money. It is unclear which way Leimert Park will turn, now that the economy has changed so drastically. I also must say that the film deals with the viewpoint of the artists. There are some in the community (I am speaking here of the merchants) that want to see Leimert Park became more “upscale” and less grassroots. There are others who fear that change as they believe it will run them out of business. Many of the artists have already been forced to leave due to rising rents and this has changed the community greatly. So it is really at a crossroads.

What do you want people to go away with after watching this film?

I have found that each person walks away with something different (which is quite satisfying). I guess if I wanted viewers to get "something," I would like them to go away with a broadened vision of “South Central Los Angeles”, and even more so, I would hope that the film and the artists in the film inspire people to follow their own passions and create.

End.

CHECK OUT: the perfect companion to Leimert Park – the film – is Stephen L Isoardi’s excellent book The Dark Tree: Jazz & the Community Arts in Los Angeles (George Gund Foundation Book in African American Studies

Paul Bradshaw www.straightnochaser.co.uk

"4 HANDS" REVIEW

2008-11-18T16:31:00.004Z

While the Barbican hosted live sessions which united Laurel & Hardy and Buster Keaton with the Millennial Territory Orchestra and Bill Frissell, over in East London, at the RIch Mix complex, Edge 08 hosted a radical freestyle session that celebrated the European premiere of Yasuhiko Shirai's '4 Hands' - an elegant and immensely engaging film that documents the musical meeting of Japan's premier jazz pianist, Yosuke Yamashita and his "master" Cecil Taylor.

Cecil Taylor ranks alongside John Coltrane and Ornette Coleman as one the most influential forces of the US jazz avant garde that revolutionised and globalised the music in the Sixties. In this film, we are immediately confronted, on the one hand, with the respectful, reverential vibe of Yamashita, who is poised to live out his dream and, on the other hand, an impish, feisty and intellectually rigorous Taylor, who wastes little time in demolishing the interview process while dismissing "jazz" as derogatory and restrictive.

Effortlessly stylish, in a Yohji Yamamoto kind of way, 78 years old Cecil Taylor sports an array of headwear (I'm not sure about the jail-style nylon stocking skull cap) and chunky colourful leggings. He moves like a dancer attuned to his own internal rhythm and as we are immersed in the rehearsals it's clear that there is a deep and respectful bond between him and his "colleague", Yamashita.

Hearing Cecil Taylor's music completely changed Yamshita's attitude to playing. As far as he is concerned Taylor's approach to music is totally unique and equally liberating. As they play together there is a sense that they are sparring and here we're talking the grace, speed and explosive power of Sugar Ray Leonard.

The footage of the actual concert, which took place in Tokyo in 2007, is astonishing. As viewers we are given access to the musicians in a way that one could never have in a concert hall setting. We are drawn the facial contact across pianos, given glimpses of a notation system that is totally unique and get an opportunity to watch the hands dance over the ivories or pound them relentlessly. To see their finger at work, filiing the whole cinema screen, is amazing.

As a teenager, I was introduced to the music of Cecil Taylor by my father, he was a fan, but to me it just seemed like noise. However, upon seeing and hearing him play live in Ronnie Scott's some years later (I was sat at the the front, adjacent to the piano) it all fell into place and made sense.

This film is like that. You can connect with the physical process and with both musicians' free flowing mental agility. You are drawn into the pulsating energy of the performance and the sounds and left surpisingly open and receptive, to their individual interpetations of each others' music.

The elegant, relaxed pace of the film adopted by it's director,Yasuhiko Shirai, allows the music to breathe. It also allows the audience the opportunity and the space to take in the spectacle and reflect while negotiating the shifting tides of sound that oscillates between a shimmering calm and a firece storm. '$ Hand@ is a film both it's director and it paricipants can be proud of.

Paul Bradshaw (straight no chaser)

Paraphernalia Review

2008-11-18T16:29:00.008Z

Last Thurday we enjoyed a hugely successful opening of Pete Williams' Paraphernalia: The Chaser Years.

However, due to a number of unforeseen circumstances, the London showing of this powerful photographic exhibition at the Boundary Studio in Calvert Avenue E1 has had to be postponed.

Despite a typically wet and windy November evening the opening attracted an excellent and very enthusiastic gathering drawn from the diverse worlds of design, music and fashion.

In the house were locals like designers Ally Cappelino and Virginia Hodge, photographerr/artist/capoeirista Hassan Hajjaj, Angelo and co. from the Maverick Gallery, Kate & Clare from Rich Mix, and Eloise from Ideas Generation. Ellingfort Road was represented by Jo & Bruce from London Fieldworks (+ Jetson) and photographers Cat & Kristian (+ Robyn).

Musicians include Orphy Robinson. Jessica Lauren and Kevin Rowland while the Chaser crew - Swifty, Kathyrn Willgress, Neil Spencer, Dave Hucker, Mitch, B, Matt 'Monkey' Boxer Bailey, Andy Thomas, Janine, Suki Dhanda, Roberta Cutolo, Miriam Hempel - were in out inforce. On the film making front we had Jeremy Wooding and Yasuhiko Shirai who had arrived that day fron Japan to attend the screening of his '4 Hands' documentary.

The vibe was great, The TIGER beers flowed along with the excellent PAMPERO rum. Peter's portraits were universally well received and his shows is now guaranteed an airing in Amsterdam and Milan (Berlin is also on the cards!)

We know that a lot of people were very keen to view the show during this coming week and we apologise deeply for any inconvenience caused.

We will keep everybody posted re. future showings as we are determined that the photographic work of Pete Williams gets the exposure it deserves.

A luta continua.

Paul Bradshaw: Chaser + Edge08

2008-11-18T11:27:00.002Z

A Review of the last ever Sunday Supplement at the Millfield Theatre

2008-11-18T10:55:00.003Z

Although it was a year ago here is a review of the last ever Millfield Theatre Sunday Supplement..
This was a review done by those fantastic people at Jazzrefreshed who continue to do some great work bringing music to the community..Thanks for sending along a reviewer, when we also tried to have some others come along to review the shows, the silence was deafening yet when we played at the South Bank centre a week later quite a few were there in the crowd who had come along to see something else but stood there with there mouths open like they were in shock!with one coming up and he actually said "I didn't realise it was going to be so good,you know covering Slavery and that" Yet we were not able to have another review.
Anyway Before the two commissioned shows at Millfield and at the South Bank there was a launch event held at the Houses of Parliament where I was invited to play solo Marimba I played three segments of the "Routes Through Roots" commission the first Imancipation "Hey man stay patient" the second Caribbean = "Carry we Beyond" the third "Democracy" "They mock us you see".
The ensemble consist of Corey Mwamba,HKB Finn,Pat Thomas,Richard Anthony Davis and myself. Here kindly reprinted with permission from Darren Taylor of Jazz Refreshed below is the review.

Orphy Robinson - 18th November

Wednesday, November 21st, 2007

Gig Review – Orphy Robinson18^th November – Millfield Theatre

As I’m sure most of you are aware there have been celebrations to mark this bi-centenary for the abolition of the Slave Trade Act throughout the world; perhaps more so in the jazz world. In celebration for this event Orphy Robinson was asked to bring together some of the great musicians and poets together and produce some new pieces for this event ‘Routes Through Roots’

The stage was set; the lighting dimmed and smoke was just shimmering on the platform. Instruments littered the stage before us and I was expecting Orphy to stride out with a large collection of fellow musicians to speak their words on their feelings and thoughts. What emerged from behind the curtains wasn’t the entourage I expected; rather five musicians came forth and brought their music to the auditorium.

This has to have been one of the best live gigs I have been to in a while. You got a definite impression that besides making music the band actually had something to say, which is so refreshing to hear. It is all too easy to get lost in getting technically brilliant in your improvisations or getting the band really tight together – but what’s really important is the message you want to put across and Orphy and the band couldn’t have put this across any better. From the moment the band started playing until the moment they stopped there was music – no piece ended, no clapping allowed – just the music. It added a sense of story to the pieces – that the story of those forced into slavery didn’t stop and cut and paste into neat little sections – but rather that it was a constant, on-going life.

Despite being only five players the band wasn’t limited on the sounds that they could produce during this non-stop 40-minute set. Robinson and Corey Mwamba constantly shifted instruments – from the more standard drums and bass, to dulcimer’s and ethnic instruments that I’d not come across before. All the time Pat Thomas kept the sounds looping and introduced sounds of his own by replaying out sounds, samples as looping outs sounds that were taken as the musicians played. Even the lighting matched the mood of the pieces they were playing and shifted when the sounds on stage shifted too. The result was outstanding.

The opening number began with Orphy Robinson on trumpet – starting us off with a lilting trumpet solo, which reminded me of the opening riff on Byron Wallen’s latest album. This sound was looped and played back throughout the number so Orphy could move on and layer on further instruments. It also allowed other players to intertwine with his opening statement and develop the idea further with the original material still there. Such a rich complex texture was created out of something so simple that it was mesmerising. Sometimes you had to check to see who was playing what instrument to decipher what was live and what was looped. The rich tapestry was taken further by blending in the vocal talents of HKB Finn and Richard Anthony Davis.

Richard Anthony Davis’s vocals range, and timbre, were impressive and his melody lines shifted and blended around the sounds around him. I think this ability to blend with the fellow musicians, as well as lead, contrasted well with the spoken words taken from HKB Finn. Everything Finn did and said drew you attention to him, even just the way the man sat brought your attention to him and made you think ‘there’s someone who has something to say’. The words he spoke were deep in meaning and beautifully portrayed. Such were the emotions behind the words and such thought gone into each word spoken that the effect was superb.

The impact of the vocals, both sung and spoken, were heightened by the music behind and around them. Each of the players were masters of their instruments. Pat Thomas was great to watch – seeing him play jazz piano as well as improvising using all elements of the piano – this included hitting the strings with a small hammer and making scratching noises along the strings too, to add to the despair and angst of the music. Each used perhaps less standard practises of playing their instruments to add further depth, sound and colour to the performance. As each player added different styles they interacted really well – all interpreting and adding to the sounds around them.

During this 40-minute set we were given a sample of Orphy’s new pieces that it would be fair to class as a single performance than as separate tracks. But within that one performance there is a wide range of styles, colours and textures. The effect is having the chance to listen to great musicians perform some deeply moving pieces of music that allow you to reflect on both life and the past all in one.

For further info go to: www.myspace.com/orphyrobinson or www.orphyrobinson.com

The Sunday Supplement

2008-11-18T10:08:00.002Z

Some of you will remember the series of gigs I use to organise at the Millfield Theatre in Edmonton North London Last year 2007.It was a lot of fun and we had some great shows with fantastic Artist like Steve Williamson,Byron Whallen, Adisa,Steve Lawson,Bj Cole,Christine Tobin,Hkb Finn,Corey Mwamba,Jason Yarde,SteveBeresford and many others,However even though we had some great audience numbers especially as the Theatre is not really on the Radar for the type of gigs we witnessed.We were really up against it logistically at times? The Theatre manager Ralph Dartford was always absolutely brilliant and couldn't have been more helpful but in the end I had to bring the Sunday Supplement sessions to a close!
However I hope that I have finally found a suitable venue can't say where until the T s have been crossed and the I s have been dotted etc,but I will post up here first when it's all hopefully ready to go!

Young, Gifted & Out There!

2008-11-18T10:05:00.003Z

With the assistance of Jazz Alive, the Roundhouse and Hoxton Hall's Loaded Lyrics crew, Edge 08 - a fringe to the London Jazz Festival - conjures up a night of FUTURIZM.

Saturday night in Hoxton Street and the debris of the day's market lined the gutter. Inside Hoxton Hall, the space which provides the cultural heartbeat to the real Hoxton, the atmosphere crackled with excitement as dozens of young musicians registered in the lobby while others soundchecked in the classic old skool theatre.

The sounds of nu soul wafted into the band room which was alive with dozens of young players flexing on their instruments. A tousle haired boy in his early teens lets off a run on the alto sax that is so fluid and smooth it gives this listener a genuine shock. In the cafe a boy/girl duo worked on a version of Miriam Makeba's 'Click Song' - it's their tribute to South African singer/musician/activist who had passed away earlier that week.

Futurizm was programmed by Orphy Robinson and Soweto Kinch, both of whom teach in various projects in the capital. It was a unique session which united, for the first time, the cream of young artists from Jazz Alive, The Roundhouse and Hoxton Hall itself.

As a performance it was a game in two halves but throughout the audience were consistently confronted with a freewheeling and eclectic mix of sounds and music. The first half of the night was given added grit and grime through the poetic interventions of Hoxton Hall's own Loaded Lyrics crew who had written and learned how to memorise and perform their own words in three days! Yes, they brought to Futurizm's musical agenda their own unique innner city, working class, multi racial vision and they did it with panache.

The first set culminated with the Roundhouse All Stars - A.S.A.P - delivering a rocknfunknjaz clash that echoed the spirit of those musicians in the Sixties and Seventies like Miles, Hendrix, Sly Stone or George Clinton who suddenly discovered they could transcend musical boundaries and mesh the horns with the electronic power of rock guitar. Respek goes to that low slung strat weilding kid who wasn't afraid to cut loose with a blistering little solo and an attitude to match.

The second set had the the Jazz Alive crew hit the stage, fresh from wowing the RFH/South Bank with their tribute to Herbie Hancock. Along with their unique version of 'Chameleon' they bounced into an uplifting anthem that celebrated their own existence - Jazz Alive was the WORD! They were followed by the Descendants Of A Quest, a tight four piece, who were fronted by a trio of vocalists. Of the three (2 boys and 1 girl) it was a dynamic Chantelle Nandi who took the lead and delivered a range of tunes that spanned nu-soul (light and dark), jazz'n'scat and lovers rock. As the night edged towards an end Chantelle handed the baton over to Theo Llewellyn who brought the house down and the lights up with a vibesin' rendition of Stevie Wonder's 'Another Star'.

PB @ Straight No Chaser

Respek goes to HOXTON HALL for hosting this event, to all the projects involved and, most of all, to the performers/musicians who gave us a solid dose of Futurizm.

It was Twenty one months ago!

2008-11-18T09:55:00.002Z

Only just noticed it was 21 months ago that I had last posted anything up here!Wow! time has flown!The reason why I am back posting is that one of my students had asked me a couple of times what had happened to the blogging, and I didn't really have a good answer other than being lazy I suppose although if truth be known I had also forgotten the password! tried a few times failed abysmally and would say to myself It will come back to me" So finally it has come back to me a after a real long senior moment! LOL...

EDGE 08 FESTIVAL "THE FREEDOM PRINCIPLE"

2008-11-18T09:19:00.002Z

Here's one of the things I have been involved with the EDGE 08 Festival events came about through bumping into Paul Bradshaw of the magazine "Straight no Chaser" one day. Chatting in general having a catch up when the conversation turned to the London Jazz Festival,this led to us comparing notes on stuff that would give the Festival a different slant, we then hit on the idea
of putting together a Fringe to the main Festival.
Well certainly easier said than done as it was the end of August which was already far too late to organise getting any Arts funding or Promoting something that would be more than just one event and happening at the start of November! However the feedback that we received from everyone we put the idea to was overwhelmingly positive.This included a mouthwatering and quite humbling line up of Musicians,Artist,filmmakers,Photographers,Venues and Media volunteering their services to the Fringe angle of the main festival!
We somehow managed to pull together a programme that included the European Premiere of two fantastic documentaries "4 Hands" featuring Cecil Taylor the amazing Pianist and his equally brilliant Japanese counterpart Yosuke Yamashita in a first ever meeting of these two masters of the Piano.The Director Yasuhiko Shirai even offered to fly himself and his lovely wife over to London for the screening and it wasn't just words they actually did! A real honour for us as the world premier was screened at the Lincoln centre New York which is very different from Bethnal Green in the East end of London!
Anyway I will post beneath this a schedule of the events we have left and hope to see some of you at the events!

Back again

2008-11-18T08:43:00.003Z

I Haven't been on the blog for a long time as you would of noticed it started as a short break that ended up lasting over a year.
Since the last time I blogged I have been fortunate to have done heaps more Teaching, Traveling and performing plus getting involved in some very different promotional work..
I Set up 2 companies with another ex member of my 80s Brit funk band Savanna the Bass
player (Sammy J) dealing with my favourite hobby about which I will tell you more later!
I will also add blogs about events that have happened while I was away from the blog as and when I remember them!
This is because I had been logging done stuff on my Apple Powerbook but I hadn't been backing up regularly on to a separate hard disc to my cost the Powerbook was stolen along with my Video camera and portable hard disc recorder,some vibes mallets and other bits along with my travel bag.Would you believe from the side of stage at a gig as I dismantled the equipment..
The bloke who nicked my bag was very fast and according to the Security people apparently professional as he knew exactly how to avoid the CCTV cameras,however all the frustration and anger that I feel I just have to let it go and move on!Aaaahh!
Right I will wind up now and be back blogging soon!

Thev 2nd Sunday Music Supplement

2007-02-12T17:19:00.000Z

FOLLOWING ON FROM LAST MONTHS PACKED AND VERY SUCCESSFUL LAUNCH OF THE SUNDAY AFTERNOON MUSIC EVENTS AT THE SUNDAY SUPPLEMENT IN THE MILLFIELD THEATRE,NORTH LONDON.THIS COMING SUNDAY 18TH FEBRUARY 2007.SEES ANOTHER MOUTH WATERING LINE UP OF GREAT MUSICIANS AND ARTIST STARTING WITH STEVE LAWSON,(BASS)LOOPING,IVAN CELLOMAN
HUSSEY,CHRISTINE TOBIN VOICE,JEAN TOUSSAINT SAX,ADISA POETRY,DOORS OPEN 12:30 SHOW STARTS AT 1PM FINISHES 3PM,COFFEE, DRINKS, BAR ETC.NOT FREE BUT THE MUSIC IS.
PLEASE TELL YOUR FRIENDS BRING THEM ALONG AS WELL.THIS IS NOW A REGULAR EVENT ON THE 3RD SUNDAY OF THE MONTH RUN BY MUSICIAN ORPHY ROBINSON.THAT GIVES YOU A CHANCE TO SEE AND HEAR SOME NEW AND INNOVATIVE MUSIC FOR FREE.A GREAT WAY TO SPEND YOUR SUNDAY AFTERNOON.
PLEASE VISIT THE MILLFIELD THEATRE WEBSITE FOR DETAILS AND HOPEFULLY SEE YOU THERE.
THE MILLFIELD THEATRE,SILVER STREET,EDMONTON,LONDON,N18 1PJ.
ORPHY R.
http://www.millfieldtheatre.co.uk/sunday_supplement.php

The First London Improvisors Orchestra Gig 2007

2007-02-12T16:25:00.000Z

The first sunday saw a really good turnout with roughly 26 musicians present.
The audience were enthusiastic throughout.The Conductors for the first one were Violinist Charlotte Huq,Trombonist Robert Jarvis,Trumpeter Roland Rahaman,Guitarist Dave Tucker,Pianist Steve Beresford,Flautist Terry Day,Saxophonist Adrian Northover all provided some exquisite moments and soundscapes that the orchestra lapped up.
Can't wait for the next instalment.

MUSIC SUPPLEMENTED

2007-01-25T10:57:00.000Z

Wow!finally got there,Last sunday was the first of my new venture at the Millfield theatre a lovely venue in North London.It was a hectic period for me with rehearsals for a concert at Trinity College of music with the great female contemporary classical composer Alwyn Pritchard,I had also Directed the music presentation for The "State of Play" Education conference at the Roundhouse in Camden. while trying to put together a band for a private gig at Hackney empire for the 2012 Olympic committee and teaching,fortunately they both came together really well the band had Byron Wallen,Cleveland Watkiss,Steve Williamson,Benet Mclean,Troy Miller,Neville Malcolm and truly kicked.The Trinity concert was part of the WIRED UP Festival at the music college.A new venture for the college in the area of electronic music.A full house greeted each concert in the festival.We closed the Wednesday evening with some lovely pieces written by Alwyn that brought the house down.Friday I went along to the debut gig of Robert Mitchells great new band.Corey Mwamba was on vibes an inspiring addition as was Shaney Forbes drums,Tom Mason Bass,A stellar lineup finished off with Omar Puente Violin and the fantastic Deborah Jordan Vocals.
What a great gig and the band was on seriously on fire.