The Rep

In six months this internet radio station has grown and improved, now my station of choice. It is trying to promote young and new jazz artistsby running a jazz performer of the year competition. It is also supporting and raising money for the National Youth Jazz Orchestra. It has about 20 presenters around the world a lot of whom are jazz artists. Its certainly worth giving UK Jazz Radio a listen. Here is the Link http://www.ukjazzradio.com/

Yes, but when cancer is progressive and incurable, as it often is, people often still talk about "fighting" or "battling" it -- which, again, can really fuck with the minds of the parties involved. It is very sad news indeed, let us hope that the treatment helps or she might go into some kind of remission. Maybe battling Alzheimer's is not the right phrase but battling cancer is. It does not mess with peoples mind, win or lose. It focused my mind, I had a mental battle every day for a year and I meen every day. This was in addition to the medical treatment. I felt I was part of what was going on and now ten years later, I have just been given the all clear again after my yearly check up. I will play some Etta tonight and think how lucky I am.

John Dankworth R.I.P. died 6 th February 2010. This is very sad news, very sad news. It is not just another great musician dying but what he has done for the british music scene. I first came into contact with John and Cleo when Cleo and her sister ran a small cafe in Hounslow, 4 or 5 miles from London airport. I played in the back garden with Cleo's son Stewart, from a previous relationship. I remember the talk that she was going to audition for John and then the photographs going up on the wall as they became more well known. It was due to this early contact that I followed Johnny Dankworths band and the musicians that past through it, including Ronnie Scott. He was a fan and played with Charlie Parker. In the 1950s he had a band The Dankworth Seven with John on Alto, Jimmy Deuchar played trumpet, Trombone was played by Eddie Harvey, the great Don Rendell on tenor, Bill Le Sage on piano, bass was Eric Dawson and on the drums Tony Kinsey. I think some of the best recordings of Johns bands are those by the Alec & John Generation Big Band. Alec, Johns son, plays the double bass and is much in demand. The story is that on a tour of the USA when Alec was a young boy, he met the comedian Bill Cosby, who gave Alec a double bass and tutor books, he had been trying to learn with. So that is how Alec became a bass player. The work that John and Cleo have done for the young musicians of the UK is beyond calculation and too great to put a value on. They have literally made there home a refuge for young musicians. I think if I was speaking to someone who knew nothing of John as a musician I would direct them to the clarinet solo in Born On A Friday with Cleo Laine, from the live recording at Carnegie Hall 1977. Our best wishes go to John's family and a big thank you to John himself. John Dankworth R.I.P. The Rep.

It's for GCSE so it's a must do Alright I'll give those a listen - sounds good man Very good advice here! And have fun doing it. But branch off into contemporary things surrounding you too. Go out to hear lots of live music. As much as your budget allows. To me that's the real key to appreciating and loving jazz and improvised music. Hear the greats in performance. Hear the near-greats. Heck, go and hear the lounge band down the street... You never know where beauty may surface. It's a great adventure. Enjoy! "Seek and Listen" as Rahsaan Roland Kirk said. Is 14 a bit young to go out to Jazz Clubs? Anyway yeah, Kirk never lies - I'd better go and listen to live to get a real flavor of jazz improv! Although I made this thread it's a real gem just to store artists for those 'new' to jazz A friend of mine, Phelon Burgoyne, played drums at Ronnie Scotts for the NYJO (National Youth Jazz Orchestra) and he is the great age of 15 years.

So many of the great Mulligan recordings have been mentioned and the third jazz album I ever bought was Gerry Mulligan, Paul Desmond Quartet back in 1959, when I was sixteen. There is one that has not been mentioned that I like "Little Big Horn" released 1983 on GRP. Musicians, Dave Grusin, Richard Tee, Anthony Jackson, Jay Leonhart, Buddy Williams and Butch Miles. Tracks all by Mulligan, Little Big Horn, Under A Star, Sun On Stairs, Another Kind Of Sunday, Bright Angel Falls and I Never Was A Young Man.

The only album I picked up is Multiplication, a vinyl copy. I have not played it in a while, maybe tonight. A bit of video from the album "Oh! Mary Don't You Weep" very gospel.

There are two birthdays, that occur within two days of each other that this month, Ronnie Scott, 28th January 1927, which would make him 83. Tubby Hayes, 30th January 1935, which would make him 75. Ronnie Scott Born Ronald Schatt in Algate, East London, Scott began playing in small jazz clubs at the age of sixteen. he toured with Johnny Claes, the trumpeter, from 1944 to 1945, and with Ted Heath in 1946, as well as working with Ambrose, Cab Kaye, and Tito Burns. He was involved in the short-lived musicians' co-operative Club Eleven band and club (1948–1950), with Johnny Dankworth and others, and was a member of the generation of British musicians who worked on the Cunard liner Queen Mary (intermittently 1946–c. 1950) in order to visit New York and hear the new music directly. Scott was among the earliest British musicians to be influenced in his playing style by Charlie Parker and other bebop musicians. In 1952 Scott joined Jack Parnell's orchestra, then led his own nine-piece group and quintet featuring among others, Pete King, with whom he would later open his jazz club, Victor Feldman, Hank Shaw and Phil Seamon from 1953 to 1956. He co-led The Jazz Couriers with Tubby Hayes from 1957 to 1959, and was leader of a quartet including Stan Tracey (1960–1967). During this period he also did occasional session work; his best-known work here is the solo on The Beatles' "Lady Madonna". He was said to be upset at the amount of his saxophone that made the final cut on the original record. In subsequent recordings Paul McCartney restored greater sections into the song. From 1967–69, Scott was a member of The Kenny Clark Francy Boland Big Band, which toured Europe extensively and which also featured fellow tenor players Johnny Griffin and Eddie Lockjaw Davis, at the same time running his own octet including John Surman and Kenny Wheeler (1968–1969), and a trio with Mike Carr on keyboards and Bobby Gien on drums (1971–1975). He then went on to lead various groups, most of which included John Critchinson on keyboards and Martin Drew on drums. Ronnie Scott's playing was much admired on both sides of the Atlantic. Charles Mingus said of him in 1961: "Of the white boys, Ronnie Scott gets closer to the negro blues feeling, the way Zoot Sims does." Despite his central position in the British jazz scene, Scott recorded infrequently during the last few decades of his career. He suffered periods of depression and, while recovering slowly from surgery for tooth implants, accidentally died at age 69 from an accidental overdose of barbiturates prescribed by his dentist. He was cremated at the Golders Green Crematorium Tubby In 1951, when he was sixteen, Hayes joined Kenny Bakers's sextet, later playing for big band leaders such as Ambrose, Terry Brown, Tito Burns, Roy Fox, Vic Lewis, and Jack Parnell. In 1955 he formed his own octet, with which he toured the UK for eighteen months. Hayes took up flute and vibraphone during this time, but it was as a tenor-saxophone player that he made and retained his reputation. From 1957 to 1959 he joined Ronnie Scott in co-leading a quintet, The Jazz Couriers, perhaps the most fondly remembered of British Modern Jazz groups. Subsequently, Hayes reformed his quartet, and toured Germany with Kurt Edelhagen. Then in 1961 he was invited to play at the Half Note Club in New York; a new transatlantic Musicians' Union agreement meant that, in exchange, Zoot Sims played at Ronnie Scott's. While in America, Hayes recorded (Tubbs in NY) with Clark Terry, Eddie Costa, and Horace Parlan, and in 1962 he returned for another visit, this time recording Return Visit with James Moody, Roland Kirk, Walter Bishop Junior, Sam Jones, and Louis Hayes. He played at the Half Note again in 1964, and at the Boston Jazz Workshop the same year, and at Shelly Manne's Manne-Hole in Los Angeles in 1965. Back in London, Hayes formed his own big band, working in television, film, and radio, and even having his own television series (1961–1962, and 1963). He stood in for Paul Gonsalves in February 1964 (with whom he also recorded twice in 1965 (Just Friends and Change of Setting)) when the Ellington orchestra played at the Royal Festival Hall. As well as leading his own bands and recording under his own name, Hayes also appears on recordings by other UK jazz musicians, such as the Harry South Big Band and the Ian Hammer Sextet. Hayes appeared in a number of films. He also played at a wide range of jazz festivals, including Reading, Windsor, Antibes, Lugano, Vienna, and Berlin. Despite all this, regular gigs were hard to come by for jazz musicians in the late sixties. Matters were made worse for Hayes by his development of a drugs habit, which came to badly affect his health. In the late 1960s he underwent open heart surgery; he was able to start performing again in 1971 (though he had more heart surgery that same year), and in 1972 toured Norway and Sweden. In 1973 he died during another heart operation, at the age of thirty-eight. He was cremated and interred at the Golders Green Crematorium. Hayes left a legacy of recordings which are now sought after collectors' items, many of which have been reissued on CD The Jazz Couriers were a British jazz quintet formed in April 1957 and which disbanded in August 1959. The quintet's first line-up consisted of Tubby Hayes and Ronnie Scott on tenor saxophones, with Terry Shannon (piano), Malcom Cecil (bass) and Bill Eyden (drums) and made their debut on the opening night at the new Flamingo Club in Wardour Street, Soho. They shared the gig with Tony Kinsey's Quintet featuring Joe Harriott. Cecil had been replaced by Phil Bates on bass for their first recording, which also included two tracks with Jimmy Deuchar on trumpet. By August 1958, Bates had been replaced by Jeff Clyne, who would in turn be replaced by Spike Heatley. The band disbanded in August 1959, shortly before Scott opened his own club, Ronnie Scott's, just around the corner in Gerrard Street, in October that year. They recorded four albums and appeared on some BBC radio broadcasts

Hi, Just a couple to add to the UK musicians, Ronnie Scott, Tubby Hayes and Dizzy Reece. As regards Tubby and Ronnie their recordings as the Jazz Couriers is something to sort out. For up to date recordings try Toni Kofi, Peter King and Bobby Wellins. Recordings are great but as you are in London there is no excuse not to see these people live. Jazz played live, is like a bird when flying, you will hear things that just happen on that one performance. Jazz is ment to heard live. The Rep.

Hi Daxwax, Try some Cannonball Adderley, so much there! and a favourite of mine George Adams/Don Pullen Quartet. I almost envy you your voyage of discovery. Cheers The Rep.

Yes, I saw the octet about 18 months ago at Scarborough Jazz Festival, be careful! I was enjoying a great jazz festival, seeing some of my favoroute bands and everything was right with the world, BANG, the Stan Tracey Octet came on stage . It was like I had got a lift to the top floor. The rest of the festival was good but the bar had been set to high.

I have just been listening to the new album from Stan Tracy Quartet called "Senior Moment" for the seventh time this week, it is terrific. This is the first new album from Stan in quite a while. This is just a classic jazz album, it has the same affect that his "Jazz Suite" (under milk wood) album had on me when it was released in 1965. This is without doubt one of Stans finest recordings. The group is so at ease with each other that it could be that original quartet but the sound is so fresh that it could only be today. Everything about this album is right, from Stans percussive style, to the wonderful and melodic melodies he has composed. Probably the most astonishing is the quality and insight of this new sax player Simon Allen. Up through the National Youth Jazz Orchestra, a member of Clark Tracey's Quintet, and co-leader of a quartet with Gwilym Simcock, featuring among others Laurence Cottle, Mike Bradley and guest Ben Castle. He has also play with Paul McCartney, Phil Collind and Eric Clapton. I just recommend this new album to you all. The Rep.

Thanks, I have ordered CD, it was the change of name on the tracks that fooled me. It would seem that someone on organissimo always has the answers. Happy new year to you all.

Loot To Boot, only seems to have the A side tracks but not the B side, Courage and All Right. these are the ones I was trying to find.

Thanks very much, Brownie

I have an italian vinyl LP, "CURCIO/I GIGANTI DEL JAZZ vol 92, the musicians are Illinois Jacquet, Kenny Barron, Jimmy McGriff, George Freeman, Bobby Cranshaw, Buddy Rich. The tracks are, A side, Soft Winds, Sweet Georgia Brown, How Long, B side, Courage, All Right. Is this an album or a compilation? If an album is it on CD, what is it called and when was it recorded? I have tried to track it down but my Italian is non existent. Any help would be appreciated. The Rep.

I can remember LP's costing between £1.50 and £2.00 but I got very excited when you got special offers and a 99p sticker was stuck to the sleeve.

A very sad loss, a man who gave so much for UK jazz but is so little known outside London. Thanks for all the hard work helping to keep Ronnie's at the forefront of jazz clubs, R.I.P Pete. As for the other Peter King, altoist, may I recomend his version of "Hi Fly" with the Philippe Briand Trio and have a listen to the albums "Speed Trap" and Footprints, this should give you an idea of just how good he is. The Rep

Thank you, and I now feel silly. I thought it was sharp! going back to give it another listen. Cheers Ray.

I was listening to James Carters album "Live At Baker's Keyboard Lounge", the track was Soul Street. Firstly I was taken with the solo of Gerrard Gibbs and so was paying more attention, when this group of singers took over. Very impressive, so picked up the cd sleeve to see who was singing so very well, nothing. Not a mention, can anyone help?

Happy birthday McCoy and being totally selfish, many more productive years. The Rep

Thanks for the information, I will check out Cy Touff and Ryan Shultz. I was looking at tromebone hybrids and found the "Jazzbone" here pictured but have a look here at some of the others http://images.google.com/imgres?imgurl=htt...DG%26ie%3DUTF-8 Cheers Ray

At my local jazz club the other night I saw a guy playing a Flugelbone. It was a lovely soundand I got to wondering who in the jazz world plays one and what recordings would anyone recommend?

Looks good, sounds good and by golly it is good.

Very sad news, I have very fond memories of seeing Jeff. I will play something of his tonight.

I would like to put forward Phil Ranelin and his album "Inspiration" as my album of the week. This album is a sort of coming of age, from his motown beginnings through to his wonderful jazz. Ranelin could be described as post bop and Post bop with Afro-cuban rhythms and harmonies is how you would describe the album "Inspiration" You can hear tributes to musicians that have influenced Ranelin and who he has play along side, like Hubbard, Silver, Dolphy and Coltrane. Ranelins band is a nonet with a rich sound, mixing saxophones, flute and bass clarinet with his own trombone gives a warm sound, the trumpets are not to overpowering. His trombone playing is fantastic with daring ideas and smooth tone. His arrangements are vibrant and lively. The sound is more gathered and compressed. Tenor sax player Pharoah Sanders guests on "This Ones For Trane" with his own individual sound he casts coltranes shadow. The three pieces for Dolphy show Ranelins skills as a player, writer and arranger. Track listing: Freddie's Groove; HT's Waltz; One for Johnson; The One's for Trane; Horace's Scope, Black on the NU; Beyond a Memory; Shades of Dolphy (Prelude); Spirit of Dolphy; Shades of Dolphy. Personnel: Phil Ranelin (trombone, cow bell, vocal), Keith Fiddmont (soprano and tenor saxophones, flute), George Harper Jr. (tenor saxophone, flute), Zane Musa (alto and soprano saxophones), Louis Van Taylor (bass clarinet, flute and alto flute, soprano saxophone), Danny Grissett (grand piano), Jeff Littleton (acoustic bass), Lorca Hart (drums), Taumbu (congas, various percussion) With Special Guests: Pharoah Saunders (tenor saxophone on "This One's for Trane"), Wendell Harrison (tenor saxophone on "Beyond a Memory"), Michael Session (alto saxophone on "Spirit of Dolphy"), Dayna Sean Stephens (tenor saxophone on "Horace's Scope") The Rep