A Lark Ascending

When I was 16 I wouldn't have been caught dead listening to my Dad's record collection. I'm always amazed by how the kids I teach are happy to name check their Dad's record collections! Maybe they get the sound of their Dad's collection by their very own group in this. Clearly the aural eqivalent of all those Hollywood remakes of old classic movies.

...and the latest gem to emerge from my current field trip around the Blue Note end of my collection. 'Shirl' off Silver's 'Six Piece of Silver.' Wow! What a beautiful piece, almost Ravellian! I love the harmonic ambiguity of the piece...it never quite seems to settle but turns up another glorious set of notes with each change. Reminded me at times of Ellington's solo ruminations...things like '...and His Mother Called Him Bill' or 'Single Petal of a Rose' (both of which would have been recorded later, but I'd imagine Silver was working off Ellington's style in general!). But the other immediate reference point I got was off in the future - Keith Jarrett's marvellous 'Facing You.' One I'll be playing a lot.

The issue of where jazz is going, when the next breakthrough will come recurs constantly on jazz boards. Well, I won't say I saw the future last night but I certainly saw one route (of hopefully many) that I'd say could bear some delicious fruit. A largely UK band fronted by the great London singer Norma Winstone playing an all-Wayne Shorter tribute concert in arrangements by a young British piano player, Robert Mitchell. Now the word 'tribute' and 'innovative' don't normally go together. But here we had about ten arrangements of Shorter that were very different from the originals. Intriguing line up - piano/keyboard, voice, ss/ts/bcl, drums, electric bass and cello/electric cello. Although some of the arrangement hit a ferocious groove - most notably 'Children of the Night' - mostly they were characterised by some very clever, thoughtful, unusual arrangements that teased out the idiosyncracies of Shorter's writing and then took his own methodology and abstracted them further. Some beautifully atmospheric writing (especially re: the cello) and excellent Africanesque percussion (from a young German, Volker Strater). Norma, of course, was amazing, whether singing her own lyrics or playing with or alongside the horn wordlessly as an additional instrument. Miyako, Dance Cadaverous, Diana, Orbits, Fall, Free for All, At the Fair and Harlequin all got the treatment - sensible explorations of the less covered areas of the Shorter discography. I've got a soft spot for a number of interpretations of Shorter tunes but in general they tend to be used as blowing vehicles. Mitchell seemed to do much more at this concert, avoiding the more obvious 'arranging' styles, perhaps taking his lead from Gil Evans. I'm very partial to careful arrangement, especial arrangements that leave aside the stock 'arrangers' tools (as found in much big band jazz arrangement). Which is why I'd welcome more of this sort of approach. Forget banging stars together in a studio to give tribute to X, Y or Z. Pay a little less for the star musicians, a bit more to allow a thoughful and creative thinker to put a different spin on things. There seem to be plenty of young musicians around who will relish the chance to take up the challenge. The very concert is to be broadcast on BBC Radio 3 on Saturday, 25th Oct at 4.00 UK time. Will be streamed for the week following from the BBC jazz website. Well worth a listen. ************* Special mention to Norma Winstone - a young Turk of the 1960s who was out there in the maelstrom with Westbrook, Garrick, Surman and the rest; and is still willing to take risks with a project like this alongside much younger musicians. Compare with the younger generation of singers (many of whom I enjoy) whose idea of being radical is sticking a swing beat behind a Blondie tune! ************* UK residents can still catch this band at Bradford-On Avon (Friday 17th), Oxford (Sat 18th) and at the London Jazz Festival (Sat 15th Nov) and at York (Sun 23rd Nov). You won't regret making the effort to go!

I'm a bit mystified as to why you think I might be able to explain. You'll be asking me to explain the rules of cricket next! Funny, but I was in the supermarket the other day and a middle aged professional type was buying a copy of a CD by this band. I'd never heard of them but recall just wondering who they were. If their record is on sale in the supermarket they must be big! I'll ask my 6th Formers tomorrow (16-18 year olds).

The Jazz Review review (?) is amusing. They've excelled themselves this time pushing their 'grumpy-uncles' editorial policy to new highs. The review is given over to someone who admits to not caring for Miles from Silent Way onwards. It's a lengthy, honest review with enthusiasm for parts, dismissal of much else. In the end it recommends the sets to completists, scholars and those with long pockets!

Hints have been dropped by Universal, after the success of the first 'Impressed' compilation of 60s UK material earlier this year, that they may see fit to putting out a batch of whole albums from the period including a whole bunch of Ian Carr/Don Rendells and Michael Garricks. I'll believe it when I see it but here's hoping (Harry Beckett's 'Flare Up' did escape a few weeks back and was well worth the wait). There is a second volume of 'Impressed' due after Christmas which should allow a few glimpses into this long buried era.

Listen very carefully between numbers and you'll hear me clapping! About six tables back, slightly to the right of centre of the stage!

Every now and then I'm just stopped in my tracks by a tune from a familiar recording that has never really stood out before. Driving to work last week I had Art Blakey and the JM's 'At the Cafe Bohemia Vol II' playing and became totally absorbed by 'I Waited for You.' A lovely tune that I know in other forms (including Gillespie's) but this interpretation strikes me as absolutely gorgeous. A wonderfully stately presentation and rumination on the melody by Kenny Dorham followed by beautifully melodic solos from Mobley and Silver. I've had to play it several times on its own since! If it's never really struck you before dig out the album and give it a listen!

Quite. Heavily influenced by where we're coming from and what we're currently listening to. I have to say that despite Shorter's elusive, rather oblique style I actually find him highly emotional. Those ballads, for example, seem full of warmth, to these ears anyway. It reminds me of a couple of aunties of mine (both, sadly deceased). One was always there for you but did not express her emotion openly...yet you always felt it; the other was one of those overbearing, smother-you-with-kisses types - equally honest but rather frightening to a young kid. Shorter strikes me as out of the former mould. I think I might have found a somewhat disturbing psychological reason for my preference! Having said all that I picked up 'Leeway' in one of those sales yesterday. Found myself just wallowing in the disc this afternoon, especially 'The Lion and the Wolf.' I've never really got past 'The Sidewinder' with Morgan but this disc just seemed wide open and engaging. So maybe there's a place for auntie no.2 in my life as well! Late, Just to show how muddled up my ears must be when I was listening to AA this morning one saxophonist who did come to mind was Getz. Maybe I'm thinking of the Getz of the 70s - the one who recorded Live at the Montmartre including a couple of Shorter tunes! As a total non-player myself your comments about the different ways Shorter and Getz approach their sound are very interesting.

That's interesting. It's the abstract, serpentine approach that attracts me. Whereas with the 'more swinging and emotional' approach I find I have to almost suspend my disbelief...make an effort to get into the mindset of the time and try and hear it as it might have sounded then. I suppose years of hearing the 'swinging' approach watered down by countless UK 'mainstream' (swing or hardbop) imitators has built up a crust of resistance within me. I'm rather enjoying breaking through that personal prejudice (luckily many of the Blue Note and OJC recordings that document at least some of that type of music can be got for the price of a couple of pints in the various UK sales on the go at present).

This one has probably been discussed a thousand times before but I've recently heard it for the first time and am hugely impressed (sorry, but I broke the embargo and bought the copy controlled Euro version - seems to play in my machines!). I already knew the title track and 'Footprints' from the old BN Shorter compilation. What has really drawn me in are three tracks on the CD. '502 Blues' and 'Teru' are absolutely exquisite ballads - oblique and smeared yet very, very affecting. I keep going back to 'Teru' in particular. But the track which has intrigued me most is 'El Gaucho' - I love the way the main 'head' is built...that strange pause between each line where the piano almost but not quite upsets the flow. Then the way the soloing rides over that strange structure. Apologies if this is old news to the many BN experts on the board but this music is quite revelatory to me. As those of you who have read my posts know, I 'hear' jazz from a very different direction than most people on this board (European jazz, UK jazz, going back to the sources; rather than the usual core jazz repetoire working outwards). I've always loved Shorter on the mid-to-late 60s Miles recordings but found the solo Blue Notes of the mid-60s a little less involving. They've always seemed less adventurous, more traditionally based (in the hard bop sense). But this one has really made me want to go back to 'Speak No Evil', 'Soothsayer' and Ju-Ju' and listen more carefully. Who knows, I might even make sense of 'All Seeing Eye' (which, I'll admit, is a long way from traditional hard bop!).

I have visions of Napoleon and his generals, having successfully dug all the way under the Channel and advanced into Kent suddenly drawing to a halt and looking perplexed whilst gazing into this ditch: "Quelle dommage! What will we do now! How can we explain our enforced return to Paris to the people expecting our great victory!" British military genius strikes again!

Well, I've agonised over this all week...the Pepper/Byrd? or the Jones, the Pepper/Byrd? or the Jones. Anyway that Goofy figure on my shoulder with the horns and a tail (remember the old Disney cartoon?) got the upper hand and I just ordered both!!! He convinced me that I'd save on postage! Very much looking forward to these. The Chambers Select has had me on a field trip through the Blue Note recordings I have, many not played for a while, and its been enormous fun. Just discovered the joys of 'Hub Tones' this evening which I've had but not really paid great attention too over the years. Wonderful music.

I'll be giving this one a listen. Gary has kindly offered to do me a copy and send it on.

I seem to recall some unsympathetic reviews of 'Hymns to the Silence' revolving around that grouchiness. 'Professional Jealousy' in particular. I don't believe it! Van Morrison, the Victor Meldrew of rock!

No it's not! It's 'American Football.' Football is a game played by manly types using their feet alone*. a round ball, a proper pair of nets, oranges at half time and...most importantly... NO BODY ARMOUR AND CROMWELLIAN FACE MASKS!!!! *goalie and throw-ins excepted.

I'm a mild mannered chap but I know what I'd like to do with those bloody fields of barley which seem to have been taken over by some vast collective run by folk singers!

I'd have liked Keith Tippett! Then we'd be talking about moving away from the comfort zone.

When I become dictator of Britain Mr. Sting will be the first one rounded up and carted off to the football stadium! My irrational loathing of the man and all his works knows no limit!

I absolutely love I, II and III. II and III were records I bought in my first year of record buying and I still play them - great tunes, good arrangements and enormous variety (III just goes everywhere fom blues rock to soft country to folky stuff...'Hour in the Shower' has stupid lyrics but is a wonderful performance. I lost track then and by the time I noticed them again they had mutated into an AOR stadium band. I bought V a while back which seems quite good. I also recall hearing a track I really liked in about 1975 but can't tell if it was on VI, VII or VIII. If I see those cheap I might experiment. After that I'm not interested. I'm pretty sure Chicago were one of the factors in me getting an ear for brass instruments and saxophones - an important part of my jazz pre-history.

Now, sort something out for me here. I heard 'Wayning Moments' on a radio broadcast a few weeks back and thought 'Oh, I like that!' When I checked up which album it was on it seemed to be on two. One called 'Wayning Moments': 1. Black Orpheus - (take 4) 2. Devil's Island - (take 8) 3. Moon Of Manakoora - (take 2) 4. Dead End - (take 8) 5. Wayning Moments - (take 2) 6. Powder Keg - (take 5) 7. All Or Nothing At All - (take 3) 8. Callaway Went That-A-Way - (take 3) 9. Black Orpheus - (take 3) 10. Devil's Island - (take 7) 11. Moon Of Manakoora - (take 1) 12. Dead End - (take 7) 13. Wayning Moments - (take 3) 14. Powder Keg - (take 1) 15. Callaway Went That-A-Way - (take 1) and one called 'Wayne Shorter': 1. Down In The Depths 2. Black Orpheus 3. Moon Of Manakoora 4. Powder Keg 5. All Or Nothing At All 6. Calloway Went That A-Way 7. Peaches And Cream 8. Dead End 9. Wayning Moments 10. Mack The Knife 11. Black Diamond 12. Seeds Of Sin 13. Scourin' Just what is going on there?

Get behind me, Satan! That's another money-spending idea planted in my head! You will be hearing from my bank manager!

Thanks both of you. The Kelly/Chambers now goes out of the running. I'm not sure I'm ready for a whole box of Byrd yet. I think I'll sample him more elsewhere first (though I like the idea of Pepper Adams, another player I know next to nothing about who I enjoyed on the Chambers Select). The Elvin Jones becomes the favourite. Expensive, undoubtedly. Baked beans for a couple of weeks!

I tend to go for quieter, more reflective stuff, partly for fear of waking the neighbours! My favourite Sunday morning disc is Zakir Hussain's 'Making Music.' I'm also partial to early 20thC English pastoral composers at this time - Vaughan Williams, Holst etc.

I'm probably in completely the wrong thread for this but... 1. Arn't Mosaic good? Ordered the Chambers' select on Sunday; the delivery people tried to deliver on Thursday (I was at work); got it Friday! That's quick. 2. What a hugely enjoyable set. Unusually I've been playing each disc twice before moving on to the next. Have just listened to disc 2 for the second time and am just loving it all. Donald Byrd is someone I've never really paid attention to - I think I became aware of him in the 70s when he was associated with jazz-funk and I'd always assumed he would not interest me. But after buying 'The Transition Sessions' earlier in the year (Thank you Jazz Record Requests for alerting me to that!) and now hearing this I'm very taken by his exceptionally melodic solo style. Clifford Jordan is another player I've heard in various contexts but hardly noticed. I'm very drawn to his warm playing on disc 2. 3. I'm gradually building to a desire for a full Mosaic box (havn't got one in my collection). The Chambers/Kelly is still in the running...I might just get past those alternate takes. But front runner at present is the Elvin Jones set following on from the George Coleman discussion elsewhere and then seeing Richard Cook's lavish praise in his Blue Note book. So much music, so little time...