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Courtney Pine – Journey To The Urge Within
Journey to the Urge Within is the debut album by English saxophonist Courtney Pine. It was released on the Verve label in 1986. The album went on to reach number 39 on the UK Albums Chart and earned a silver disc (over 250,000 copies sold), which was unprecedented at the time for a British jazz recording.
Nucleus - Pastoral Graffiti - 1974 Nucleus were a British jazz-fusion band, which continued in different forms from 1969 to 1989.In 1970, the band won first prize at the Montreux Jazz Festival, released the album Elastic Rock, and performed both at the Newport Jazz Festival and the Village Gate jazz club. The band was established by Ian Carr, who had been in the Rendell–Carr Quintet during the middle and late 1960s. Their debut album, Elastic Rock, and the next two collections, We'll Talk About It Later (1970) and Solar Plexus (1971), were all released on Vertigo Records, and music journalist Colin Larkin noted were "vital in any comprehensive rock or jazz collection". In August 2005, a reincarnation of Nucleus with old and new members performed at Cargo in London. This was followed on 30 March 2007 by a Nucleus Revisited concert at London's Pizza Express Jazz Club as part of a series of concerts to mark the tenth anniversary of Jazzwise magazine. Nucleus Revisited included Geoff Castle, Mark Wood, and Tim Whitehead and on trumpet, as at the 2005 Cargo concert, Chris Batchelor. Although Ian Carr did not play due to ill health, he was present at the concert and received a standing ovation. On 4 August 2009, #NucleusRevisited appeared at Ronnie Scott's Jazz Club in London with Michael Garrick's Quartet as part of their two-week-long Brit Jazz Fest. #IanCarr #trumpet #flugelhorn #BobBertles #saxophone #flute #KenShaw #GeoffCastle #RogerSutton #BryanSpring #Nucleus #JazzFestival #jazz #jazzanews #jazzlegend blacksea #jazzfestival #live
Paul Winter And Winter Consort – Something in the Wind
This is the second album of Paul’s that we’re pulling “from the vault” in the barn here at Living Music HQ. Something in the Wind, released on A&M in 1969, is the second album recorded by The Winter Consort. It’s a further exploration of their unique blend of classical and jazz backgrounds while still exploring the folk and pop sensibilities of the time. Within the span of side A alone you’ll hear one of Bach’s Cantatas, a version of Mr. Bojangles, and a unique arrangement of a composition by Charles Ives…
The Stan Tracey Quartet – Jazz Suite Inspired By Dylan Thomas’ Under Milk Wood
Jazz Suite Inspired by Dylan Thomas’s “Under Milk Wood” is an album by the English pianist Stan Tracey and his quartet, that was released by the Columbia subsidiary of EMI in 1965. The music was written in response to the 1953 BBC radio play Under Milk Wood, by the Welsh poet Dylan Thomas. It has often been cited as one of the best jazz recordings made in the United Kingdom. Stan Tracey – piano Bobby Wellins – tenor saxophone Jeff Clyne – bass Jackie Dougan – drums
Cassie Kinoshi, seed. plus NikNak. Barbican, London 8/3/24
On the eve of International Women’s Day Cassie Kinoshi performs her biggest headline show to date, to debut a project Offerings, commissioned by Serious and highlighting the forgotten role of women in jazz during World War Two when the male bandleaders went off to fight. She is unequivocal about them being overlooked. “Britain is racist,”she says.
She celebrates the emergence of all female bands on the circuit at this time such as Hilda Ward’s Lady Syncopators and Evelyn Hardy & Her Ladies Band.
Before this we are treated to pieces from new album "gratitude", to be released on the 22nd of this month and first premiered live in 2023. Her erstwhiles, 10 piece seed., featuring Ezra Collective keyboardist Joe Arman-Jones, are teamed up with the London Contemporary Orchestra and DJ NikNak to produce a sound rich in orchestration, Blue Note and African rhythms.
Inspired by her mother’s gratitude book, where one thing to be thankful about each day was recorded, but at a deeper level about mental health and community, three of its four movements are performed here, each contrasting in mood and giving prominence to a different instrument. It is also designed to be a reminder of the perennial struggles of gender, race and class and Kinoshi also rails against institutions preventing artists speaking out on political issues.
The movements are performed to a visual backdrop from GURIBOSH featuring tides, echoes perhaps of seed.’s 2019 Mercury nominated Driftglass. Since then Kinoshi has produced music for theatre productions at the National Theatre and The Globe as well as the London Symphony orchestra.
There are sounds of nature and celestial aural tweaks like the heyday of jazz fusion and optimistic, uplifting poetry from Belinda Zhawi.
Each of Offerings has the original voice or music of the resurrected musician as an intro or coda and the three pieces culminate in a wild frenzy of tuba playing, not unlike the work of Charles Mingus.
Musically there is little that is new in this work, but it is beautifully conceived. It’s Kinoshi’s ability to synthesize different genres that marks her out and seamlessly blend in extra dimensions like spoken voice. Barbican’s audience takes a while to warm, but this is from inhibiting respect for decorum not inclination and, by the end, the ensemble is ecstatically received. The only disappointment is the length of the show, just over one hour.
Words: Adrian Cross; Pictures: Richard Gray
A full gallery of pictures can be viewed up to three months after the gig here.
Happy birthday to the one and only “Level” Neville Malcolm. @thereallevelneville I still can’t get over that Anthony Marshall @marshallmusic brought you in to play the low end theory on #Nightintales And since we have toured, and laughed, had some really good food, played with symphony orchestras and just got to know each other more. You have really taught me more than you can imagine. And since I crest most of my songs baseline first you are kinda the most important piece of the band. No offense to all other instruments. I love bass but most of all I love the way YOU play. The way YOU are. You are just absolutely wonderful. Thank you for being. Thank you for showing me that all we can do is play it right with love and humility. Film by Gee-Lock @51designz Edited by @remicaritey Piano Luke Smith Drums Jerome “Jerry” Brown Mixed by Marco Pasquariello @mdotpasq @mpsrecords #allaboutthebass #blackamericanmusic #britishjazz #chinamoses #nevillemalcolm #ukjazz (at Music is love) https://www.instagram.com/p/CD68f7oKIE8/?igshid=1gq1ici0aip15
“That’s Mister Acker Bilk to you. Bilk, real name Bernard, learnt the clarinet whilst in the army, stationed in Egypt, when the British were occupying the Suez Canal in the way they are wont to do. In 1962 his instrumental composition Stranger On The Shore was a huge hit both sides of the Atlantic and the first no 1 in the US by a Brit. It remains his calling card and a jazz classic. Stranger is not on this album however, these tracks all date from 1959 before his big break. . Bilk was already wearing his trademark bowler hat and striped waistcoat when he started performing on the Bristol jazz scene soon after being demobbed. With his Paramount band, they toured the London circuit in the early 50s and played a key role in the boom of British Trad Jazz, a revival of original New Orleans Dixieland. My grandfather was a big fan of Trad Jazz, and this is one of the records I inherited from him, along with several others by Humphrey Lyttleton and Chris Barber who later recorded and toured with Acker Bilk. . If it hadn’t been for my rediscovery of my record collection through this here random review, this record would have remained sequestered and unplayed. Which would have been a crying shame, because it’s wonderful. . Tracks include classics of the early jazz era: Bei Mir Bist Du Schoen, the 1932 Yiddish song made famous by The Andrews Sisters five years later and then covered and played by everyone since. The 1914 St Louis Blues by WC Handy, known as “the jazzman’s Hamlet” because everyone wants to play it as a seminal work. Scott Joplin’s 1907 Gladiolus Rag, which may not be as famous as his Maple Leaf Rag or The Entertainer but showcases his signature syncopated style. I recall ‘playing’ Maple Leaf and The Entertainer as a child on my grandfather’s pianola, excitedly pumping the bellows with my feet to turn the rolls...” . FOR FULL REVIEW & PLAYLIST CLICK LINK IN BIO: . #ackerbilk #paramountjazzband #dixielandjazz #tradjazz #britishjazz #clarinet #stlouisblues #beimirbistduschoen #vinyl #recordcollection #nowplaying #randomrecordreview https://www.instagram.com/p/CBdeQ6np2s4/?igshid=5gt37cvls7xh
"They are influenced by hip-hop, house music, grime and you can hear these elements in their music"
'They are influenced by hip-hop, house music, grime and you can hear these elements in their music'
