Perhaps Not Surprising (Jazz Has Become The Least-Popular Genre In The

[BillF]

I'm sure we'd all concede that jazz was always less popular than vocal music, but instrumental singles were still feasible in the 60s and perhaps even the early 70s.

And don't forget the huge popularity of instrumental electronica in the 1990s and early 2000s.

Yes, though I am not sure how much of that charted aside from something like US3 Cantaloop (which if I recall accurately, many here loathe).

Looking through these various posts and key threads, with a semi-detached eye, there really is just so much snobbery it is pretty sickening. Any artist that is under 50 that gets halfway popular is almost immediately knocked off the pedestal. I have indulged from time to time, though try to stay out of it, mostly since my emotional attachment to jazz is probably half of what it was 10 to 15 years ago.

But yes, in terms of its overall cultural relevance, I do think jazz is now dead. Sure, there are some legacy projects (perhaps more in Europe where there is some public funding keeping this stuff going) and a few cities where jazz seems truly alive, but not for the majority of people who couldn't care less.

"But yes, in terms of its overall cultural relevance, I do think jazz is now dead."

Neatly put, and perhaps controversial, but accurate.

[Scott Dolan]

Oh, you misunderstood me. I am not saying that it is a bad thing that these people like later pop, country and hip hop, and have no interest in jazz. I think that there is much worthy music in those genres. They seem happy listening to what they like. Live and let live, I say. I was just commenting that it is unrealistic that adults with no interest in jazz could develop such interests if only.....if only they heard swing instead of avant garde........if only there was more jazz radio......if only something else. No, I think it is not realistic that they will ever like jazz no matter what. I don't have a problem with that.

I was making the observation that some of the discussion on this thread seems to assume that more people have more of a knowledge and interest in jazz, or could have such an interest, than is realistic.

Ah, yes I completely misread you. My apologies.

[Big Beat Steve]

@Larry Kart/Hot Ptah:

I admit I cannot give comprehensive evidence of what effects of the "post-neo-swing" the were on jazz at large in the USA and to what extent they stimulated (or did not stimulate) the demand for jazz there but I can tell you this from over here:

Before that neo-swing wave made splashes over here in the mid-90s (with a surprising amount of exposure in (music) mags not normally devoted to any music where you'd promote old masters such as the three Louises - Armstrong, Prima, Jordan, for example), live swing-style jazz OUTSIDE concerts by the remaining heroes from decades gone by really were very much a matter of compratively stiff concert played to a somewhat older seated audiences.

Even in long-established clubs with a long tradition of hosting jazz gigs (local/regional bands but also touring artists/bands) there was hardly ever any dancing room.

This changed markedly from, say, the mid-90s.

(BTW, I doubt that concert by legend Benny Waters I attended here in 1997 would have attracted THAT many younger listeners if the neo-swing craze hadn't already been going on. )

And even after that neo-swing fad ebbed off things calmed down but a fairly healthy following has remained ever since.

It still is very much a niche phenomenon but a stable one, and the share of younger people is really quite large (some of them being even too young to have consciously witnessed all of the mid-90s neo-swing craze, unless they started out really early). We have two local associations that do swing/lindy hop dancing classes and organize concerts as well as special events (such as Frankie Manning tributes - Norma Miller has been over at least twice), And even this is less than what's happening in places like Hamburg or Berlin.

For EVERYBODY interested it is fairly easy to search out the venues and gigs where you can listen to swing (and dance to it, of course) - not just events featuring swing bands but also record hops where the DJ plays your records all night long. I've been to quite a few of these, have very occasionally DJed myself, and the music that the audience and dancers pick up on spontaneously is pretty amazing - a lot of stuff they cannot possibly have heard before ever (not nearly all of them are inveterate collectors) but many have asked the DJs "what's this, what's that .." so at least sometimes the curiosity to explore is there and one thing may well lead to another ... And even if this exposure only occasionally gets people to move consciously into other styles of jazz as well, it still is a good thing IMO that THIS style of jazz still has its subculture. And as long as cases like that chap browsing through my swing record crate at a 50s rockabilly festival late last year and enthusing about that Erroll Garner record I had for sale (because he thought "Errol was just great") can still happen I feel that not all hope is lost ...

Like I said - easing people into jazz (even if only 1 out of 100 will then venture into any sort of bop or post bop or whatever) instead of alienating them via all too free jazz for a FIRST "jazz experience" is not the worst thing in the world and not something to be sneered at, even if it does not immediately help those avantgarde artists you wish to support. Jazz IS a wide field, stylistically speaking, and like i said here repeatedly, you cannot expect everybody to like every style of jazz to the same degree (I certainly don't either ). But whatever style of jazz those people I have referred to feel attracted to, it STILL is jazz.

BTW, IMO all those Nat/Natalie Cole or Bette Midler tune examples cited above were just flashes in the pan compared to the swing subculture I have tried to describe. Here it is NOT a case of some elements of swing creeping into pop charts. Sustaining a subculture of ongoing events and venues that cater to this music and its lovers on a regular (!) basis is QUITE something else. It IS a niche segment of music but I'd BET you a dime many avantgarde/free improvisation musicians would LOVE to have that kind of audience on a regular basis.

Edited March 16, 2015 by Big Beat Steve

[Steve Reynolds]

Who says the music I love is filled with "far-out wierd noises"?

You do!!!

Young people who are into rock or techno or hip hop will not and do not necessarily hear a tenor saxophone being played brilliantly which might include altissimo or overblowing as "far-out wierd noises".

Your stereotyping and generalizations about music you are barely familiar with can only be matched by the volume of words you apply to denigrate such music.

These potential new listeners might, in fact, find more subdued or historical forms of jazz limited in sound and not nearly aggressive, bracing, striking or intense enough based on many modern forms of music that include many sounds/approaches that they have listened to - sounds that the free jazz and avant-garde masters have incorporated into their music over the past 50 years. Why the best of these forms remain vibrant, fresh and alive. Because they are still in the process of creation. Often seemingly timeless - but if one's ears are open, the music is there to be heard.

This is exactly why you don't give current potential jazz listener's ears the credit they deserve. Many are much more likely (as I was 25 years ago) to be more turned on by current jazz/improv than historical music - let alone by sorry ass recreation of such music.

Certainly rock fans who listen to hardcore or metal or alternative have a much larger chance of hearing something in the DKV Trio or Atomic or Tony Malaby or The Bad Plus or Trio 3 or Peter Brotzmann than some Lindy Hop band.

Blood and Guts, baby

[Hot Ptah]

@Larry Kart/Hot Ptah:

I admit I cannot give comprehensive evidence of what effects of the "post-neo-swing" the were on jazz at large in the USA and to what extent they stimulated (or did not stimulate) the demand for jazz there but I can tell you this from over here:

Before that neo-swing wave made splashes over here in the mid-90s (with a surprising amount of exposure in (music) mags not normally devoted to any music where you'd promote old masters such as the three Louises - Armstrong, Prima, Jordan, for example), live swing-style jazz OUTSIDE concerts by the remaining heroes from decades gone by really were very much a matter of compratively stiff concert played to a somewhat older seated audiences.

Even in long-established clubs with a long tradition of hosting jazz gigs (local/regional bands but also touring artists/bands) there was hardly ever any dancing room.

This changed markedly from, say, the mid-90s.

(BTW, I doubt that concert by legend Benny Waters I attended here in 1997 would have attracted THAT many younger listeners if the neo-swing craze hadn't already been going on. )

And even after that neo-swing fad ebbed off things calmed down but a fairly healthy following has remained ever since.

It still is very much a niche phenomenon but a stable one, and the share of younger people is really quite large (some of them being even too young to have consciously witnessed all of the mid-90s neo-swing craze, unless they started out really early). We have two local associations that do swing/lindy hop dancing classes and organize concerts as well as special events (such as Frankie Manning tributes - Norma Miller has been over at least twice), And even this is less than what's happening in places like Hamburg or Berlin.

For EVERYBODY interested it is fairly easy to search out the venues and gigs where you can listen to swing (and dance to it, of course) - not just events featuring swing bands but also record hops where the DJ plays your records all night long. I've been to quite a few of these, have very occasionally DJed myself, and the music that the audience and dancers pick up on spontaneously is pretty amazing - a lot of stuff they cannot possibly have heard before ever (not nearly all of them are inveterate collectors) but many have asked the DJs "what's this, what's that .." so at least sometimes the curiosity to explore is there and one thing may well lead to another ... And even if this exposure only occasionally gets people to move consciously into other styles of jazz as well, it still is a good thing IMO that THIS style of jazz still has its subculture. And as long as cases like that chap browsing through my swing record crate at a 50s rockabilly festival late last year and enthusing about that Erroll Garner record I had for sale (because he thought "Errol was just great") can still happen I feel that not all hope is lost ...

Like I said - easing people into jazz (even if only 1 out of 100 will then venture into any sort of bop or post bop or whatever) instead of alienating them via all too free jazz for a FIRST "jazz experience" is not the worst thing in the world and not something to be sneered at, even if it does not immediately help those avantgarde artists you wish to support. Jazz IS a wide field, stylistically speaking, and like i said here repeatedly, you cannot expect everybody to like every style of jazz to the same degree (I certainly don't either ). But whatever style of jazz those people I have referred to feel attracted to, it STILL is jazz.

BTW, IMO all those Nat/Natalie Cole or Bette Midler tune examples cited above were just flashes in the pan compared to the swing subculture I have tried to describe. Here it is NOT a case of some elements of swing creeping into pop charts. Sustaining a subculture of ongoing events and venues that cater to this music and its lovers on a regular (!) basis is QUITE something else. It IS a niche segment of music but I'd BET you a dime many avantgarde/free improvisation musicians would LOVE to have that kind of audience on a regular basis.

It appears that the Neo-Swing movement may have had more of an impact, and more of a lasting one in Germany compared to the U.S.

Edited March 16, 2015 by Hot Ptah

[A Lark Ascending]

I don't get poetry. I'm bored by 18thC French vases. My taste buds don't have the sort of memory to allow me to 'appreciate' wine.

Somewhere over on Poetryissimo or French Porcelainissimo or Viticulturissimo someone will be moaning about my lack of interest and claiming that it's because I'm an air head or have had my taste devalued by Bob Dylan, Pound Shop crockery or Sainsbury's plonk.

[Shawn]

I really wasn't exposed to jazz when i was growing up (70s/80s). None of my friends listened to it, nobody in my family listened to it and it really wasn't played anywhere. Around the late 80s when I was learning to play guitar I stumbled upon some fusion stuff like John McLaughlin and Al DiMeola but that was because I read about them in the guitar magazines I had subscriptions to.

Fast forward to the late 90s and I ended up working in a used CD store with a couple guys that were major jazz fans. That was really the first time I had ever been directly exposed to it and my subsequent studying of the music lead me to the old Blue Note board and then here. But, if I had never gone to work in that store I may never have been exposed to it sufficiently to get interested in it.

[A Lark Ascending]

With me jazz as genre was already passing in the early 70s. There was no jazz at home though a fair bit of Crosby/Sinatra type MOR with a distinct jazz feel. What you got on the TV was programmes by living legends like Oscar P or Ella; or rather lumpen big bands behind variety programmes. That did not appeal at the time.

But what caught me was jazz rock (especially the British variant - Soft Machine, Henry Cow etc); the name-dropping by rock musicians at the time especially McLaughlin and Santana (I first heard Coltrane tunes there); and the fact that the NME/Melody Maker still had a jazz page. I got curious but had to seek the music out because it was not easy to locate.

I suspect that plenty of young people today with a thing for music but who get a bit tired of what is easily available might find their way towards a music like jazz (more likely via the younger bands who at least look like them and might also know who significant rock players of their time are). Not to make it a substantial part of the music industry, but enough to keep it ticking along.

Those of us inside just need to make sure it is not seen as a world where you need to know the secret handshakes.

[i do recall sometime around '73 listening to a Buffalo Springfield compilation and taking to the cocktail jazz ending of 'Broken Arrow' - decided I'd like to hear more of that but hadn't a clue where to start]

Edited March 16, 2015 by A Lark Ascending

[Big Beat Steve]

It appears that the Neo-Swing movement may have had more of an impact, and more of a lasting one in Germany compared to the U.S.

Like I said - it really is a a subculture/underground/"niche market" but consistently viable enough to keep a number of venues, events and gigs going on a regular basis (though of course you don't get to hear this music every weekend).

IMO it is all about giving people a chance to get exposed to that music in a setting that does not frighten them away (such as at more "formal" concerts where any 30-year old would be by far one of the youngest ones and where the atmosphere to the younger ones would be a bit ... er ... "stifling" if you know what I mean ) and creating enough of a stimulus for them to explore the music further on their own, even if slowly and piecemeal.

Edited March 16, 2015 by Big Beat Steve

[Hot Ptah]

My experience with this large number of adults in the past few years is that virtually no one knows anything about jazz, no one ever thinks about jazz, and if jazz is brought up in passing, they react very negatively, as a knee jerk reaction. If someone suggests going to a bar where live jazz is playing, a common reaction is that the group would rather be dipped in hot oil than have to enter a room where jazz is playing.

I was surprised at the lack of awareness of jazz and the negativity toward jazz. Basically it seems to me that these adults like catchy songs with singing (pop, country and hip hop, for the most part), and do not think about expanding their cultural horizons. Also, adults in their 30s and 40s seem to have a different frame of reference for pop music than the "classic rock" of the 1960s/70s/80s. a whole other world of pop music which came later and which they think is just great.

Certainly true, overall, but the non-presence of jazz (which again invariably raises the question "WHICH STYLE OF JAZZ are we talking about"?) in the awareness of the music-listening public AT LARGE to a certain degree is of the own making of the jazz "in-crowd" (the self-professed "true jazz fans").

Small wonder many occasional listeners would not venture into jazz places if the only jazz foisted unto them was "far-out weird noises" that they could not relate to at first listening. You cannot expect people to embrace music (which ALWAYS is a matter of very personal TASTE) if you confront them with something radically different they have never been exposed to before instead of EASING them into it and providing them with opportunities to gradually find their way into the music and then let them decide for themselves. Expecting people to expand their cultural horizons when it is just about a night out in a bar is maybe not the best approach for hardcore jazz zealots to make converts.

In the 90s certain styles of jazz (yes, Neo-Swing or "Retro Swing" or whatever you would like to call it) was indeed comparatively big and had its following (and some of it is still going on today). And of course the keepers of (self-professed, again) "true" jazz faith had nothing better to do but to blast everything from that corner - too diluted, too much watered-down, not enough art in it, musically dissatisfying, pale imitations, etc. etc.

And all this without even bothering to distinguish between what's good (there were/are good bands with quite some originality) and bad (yes, there were/are weak bands, just like eversywhere else - I'd bet avantgarde has its share of "emperor's clothes" cases too if you look closer).

OTOH, even if hardcore jazz fans would fault many of these bands for the above in one swipe (which I still feel is unfounded if you do not differentiate) they'd have to admit a lot of what has been played by these bands (and still is, in certain places) is much closer to jazz than a lot of really non-jazz pop music that the general public is exposed to everywhere today.

And those who went to live gigs by these bands (and not all of them had been diehard jazz fans before - far from it) certainly knew what a trumpet looked like and would have been able to tell a trumpet, a trombone and the various saxes apart (as well as their sounds).

Regardless of whether you'd loathe these bands because, for example, they combined (oh horror!) punk rock influences with big band sax sections and lounge vocals. After all, where's the fundamental difference betwen the influences these band sworked under and the influences from non-jazz at work in some of those "world-music-cum-jazz" projects? One man's meat is another man's poison. Everywhere, all the time ...

And at least over here, those neo-swing bands spawned a subculture of fans, listeners, dancers and bands that do keep playing their own variations on a SWING theme. They do listen to the old masters and just as much to current bands playing in that idiom. Can't find much wrong with that. There are MUCH worse stepping stones into other (maybe more advanced) styles of jazz.

But if jazz cannot or won't reach out to the straw that might help to keep jazz above water, then ... well ...

Overall I do not agree with this post, as to the U.S. I think that most people in the U.S. find anything which is not contemporary pop, country or hip hop to be way too strange for them to even contemplate trying to listen to. Blues, folk, jazz, traditional ethnic music from anywhere, classical--none of it is going to be easier to get into than any of the rest of it. And is doesn't matter if it Delta blues, acoustic blues, Chicago 1950s blues, current white guitar blues, swing jazz, bop jazz, fusion jazz, avant garde jazz, vocal jazz, traditional folk, 1960s folk, contemporary folk, string quartets, Baroque classical, Romantic classical, 20th century classical, symphonies, music from any nation--it just doesn't matter. If it is not Beyoncé, Justin Timberlake, Lil Wayne, Garth Brooks, Kenny Chesney, or JayZ, forget it, people in the U.S. are not even going to try to listen to any of it and you can't force them to.

I am not saying this in a spirit of snobbishness at all. I think it is just the way it is.

At times jazz has had more of a niche popularity than now, to a somewhat greater (but still small) extent in the U.S.

[Big Beat Steve]

Maybe that formulaic radio programming of most of your radio stations is to blame in part that people just don't get exposed to anything but the most obvious acts and styles of music?

OTOH I hear ever so often from people over here who spend some (holiday) time and travel in the U.S. that they were amazed how they were consistently able to tune in to some radio station (not internet but in their car) that played their favorite music (which in the case of those people is older music off the beaten paths of pop charts, ranging from older styles of jazz to pre-1960s R&B, country or rockabilly, i.e. not some typical oldies/nostalgia Top 40 either). Who ARE these radio stations airing their sounds to?

Edited March 16, 2015 by Big Beat Steve

[GA Russell]

I would be interested to see a list of the best-selling jazz CDs sold over the past 30 years. Excluding smooth jazz.

I bet that most of those artists are today dead.

So I wonder, are many musicians today making similar records?

I think that (outside of classical music) there has never been much of a market for the recordings of the now-deceased. And if today's musicians are making records which don't remind anyone of the most popular sold over the past 30 years, why would anyone expect those new records to be popular? Just because they are new?

[A Lark Ascending]

These are the gigs put on by my closest regular jazz club in Sheffield in the last few years. Nottingham has a similar history (I've been going there on and off since 1980.

It might not indicate a genre that is central to current music. But it shows that there is a thoroughly healthy circuit. Most of those names won't mean much beyond Britain and Europe. But a lot of them are young players who have somehow stumbled into the music.

Friday 3 October

Millennium Hall

Gilad Atzmon’s Orient House Ensemble

Gilad Atzmon: saxophones

Frank Harrison: piano

Yaron Stavi: bass

Chris Higginbottom: drums

Friday 10 October

Millennium Hall

Zhenya Strigalev’s Smiling Organizm Trio

Zhenya Strigalev: alto sax

Michael Janisch; bass

James Maddren: drums

Friday 17 October

at 19.15

Crucible Studio

Enrico Pieranunzi Trio

Enrico Pieranunzi: piano

Pete Turner: bass

Dave Walsh: drums

Friday 24 October

Millennium Hall

Ollie Howell Quintet

Ollie Howell: drums

Max Luthert: bass

Matt Robinson: piano

Duncan Eagles: tenor sax

Mark Perry: trumpet

Friday 31 October

Millennium Hall

Sheffield University Big Band

Friday 7 November

Millennium Hall

Beats & Pieces Big Band

Ben Cottrell: director

Anthony Brown, Sam Healey, Ben Watte: saxophones

Ed Horsey, Simon Lodge, Rich McVeigh: trombones

Owen Bryce, Graham South, Nick Walters: trumpets

Anton Hunter: guitar

Patrick Hurley: piano

Harrison Wood: bass

Alex Tod: drums

Thursday 13 November

at 20.00

Auditorium, Sheffield University Students Union

Polar Bear

Mark Lockheart: tenor sax

Pete Wareham: tenor sax

Tom Herbert: double bass

Leafcutter John: electronics, guitar etc.

Seb Rochford: drums

Friday 21 November

Millennium Hall

Benn Clatworthy Quartet

Benn Clatworthy: saxophones

Cecilia Coleman: piano

Simon Thorpe: bass

Matt Home: drums

Friday 28 November

at 19.30

Crucible Studio

Gwilym Simcock/Yuri Goloubev Duo

Gwilym Simcock: piano

Yuri Goloubev: bass

Friday 5 December

Millennium Hall

Neon Quartet

Stan Sulzmann: tenor sax

Kit Downes: piano

Jim Hart: vibes

Tim Giles: drums

SPRING 2014

Friday 24 January 2014

Millennium Hall

Ian Shaw

Ian Shaw: vocals

Barry Green: piano

Friday 31 January

Millennium Hall

Gary Crosby’s Groundation

Gary Crosby: bass

Nathaniel Facey: alto sax

Moses Boyd: drums

Shirley Tetteh: guitar

Friday 7 February

Millennium Hall

Kit Downes Quintet

Kit Downes: piano

Calum Gourlay: bass

James Maddren: drums

James Allsopp: bass clarinet

Lucy Railton: cello

Friday 14 February

Millennium Hall

Dennis Rollins’ Velocity Trio

Dennis Rollins: trombone & electronics

Ross Stanley: Hammond organ

Pedro Segundo: drums & percussion

Friday 7 March

Millennium Hall

MJQ Celebration

Jim Hart: vibraphone

Barry Green: piano

Steve Brown: drums

Matt Ridley: bass

Friday 14 March

at 19.30

Crucible Studio

Jay Phelps Sextet: Projections of Miles

Jay Phelps: trumpet

Denys Baptiste: tenor saxophone

Logan Richardson: alto saxophone

Jonathan Gee: piano

Tim Thornton: bass

Shane Forbes: drums

Friday 21 March

Millennium Hall

Jean Toussaint Quartet

Jean Toussaint: tenor sax

Andrew McCormack: piano

Larry Bartley: bass

Troy Miller: drums

Thursday 27 March

at 20.00

Auditorium, Sheffield University Students Union

Get The Blessing

Jim Barr: bass

Clive Deamer: drums

Jake McMurchie: saxophone

Pete Judge: trumpet

Friday 4 April

Millennium Hall

Brandon Allen Quartet

Brandon Allen: saxes

Ross Stanley: piano

Mick Hutton: bass

Chris Higginbottom: drums

Friday 11 April

Millennium Hall

John Turville Trio

John Turville: piano

Calum Gourlay: bass

Ben Reynolds: drums

Friday 25 April

Millennium Hall

Led Bib

Mark Holub: drums

Pete Grogan: alto saxophone

Chris Williams: alto saxophone

Liran Donin: double bass

Toby McLaren: keyboards

Friday 2 May

Millennium Hall

Michael Wollny’s [em]

Michael Wollny: piano

Tim Lefebvre: bass

Eric Schaefer: drums

Friday 9 May

Millennium Hall

Julian Siegel Quartet

Julian Siegel: saxophones & clarinet

Liam Noble: piano & synthesisers

Oli Hayhurst: bass

Gene Calderazzo: drums

Friday 16 May

Millennium Hall

Anita Wardell/ Dave O’Higgins Quintet

Anita Wardell: vocals

Dave O’Higgins: saxophones

Mike Gorman: piano

Oli Hayhurst: bass

Tristan Mailliot: drums

AUTUMN 2013

Friday 4/10 2013

Millennium Hall

Tina May 4

Tina May – vocals

Nikki Iles – piano

Mark Hodgson – bass

Stephen Keogh - drums

Friday 11/10

Millennium Hall

Alan Barnes/ Bruce Adams 5

Alan Barnes - saxes/ clarinet

Bruce Adams – trumpet

Robin Aspland – piano Simon Thorpe – bass

Matt Home - drums

Friday 18/10

Millennium Hall

Liam Noble 5

Liam Noble – piano

Shabaka Hutchings – tenor saxophone and clarinet

Chris Batchelor – trumpet

Dave Whitford – bass

Dave Wickins – drums

Friday 25/10

Millennium Hall

Louis Moholo-Moholo 4

Louis Moholo-Moholo – drums

Alex Hawkins – piano

Jason Yarde – saxophones

John Edwards – bass

Friday 1/11

Millennium Hall

Sheffield University Big Band

Friday 8/11

Millennium Hall

Scenes in The City - The Music of Charles Mingus

Tony Kofi – saxophones

Karen Sharp – saxophones

Jeremy Price – trombone

Mark Edwards – piano

Arnie Somogyi – bass

Clark Tracey – drums

Friday 15/11

Millennium Hall

Stuart McCallum Trio with Reel Strings

Stuart McCallum - guitars/laptop

Pete Turner – bass

Dave Walsh – drums

Thol Mason, Steve Cordiner – violins

Tanah Stevens – viola

Ben Cashell - 'cello

Friday 22/11

Millennium Hall

Pinski Zoo

Jan Kopinski – saxes

Steve Iliffe – keys

Karl Bingham – bass

Stefan Kopinski – bass

Patrick Illingworth - drums

Friday 29/11

at 19.30

Crucible Studio

Zoe Rahman Trio

Zoe Rahman – piano

Alec Dankworth – bass

Gene Calderazzo - drums

Friday 6/12

Millennium Hall

Apitos

Dave Hassell – timbales

Steve Gilbert – drums

Chris Manus – conga

Steve Williams – bass

Paul Kilvington – piano

Glen Cartledge – guitar

Nick Smart – trumpet

John Hinch - 2nd trumpet

Andy Scott – saxophones

John Barber – trombone

Orli Nyles - vocal

SPRING 2013

Friday 18 January 2013

Millennium Hall

Gilad Atzmon Orient House Ensemble

Gilad Atzmon: sax

Frank Harrison: piano

Yaron Stavi: bass

Eddie Hick: drums

Friday 25 January

Crucible Studio

Stan Tracey Octet

Stan Tracey: piano

Mark Armstrong: trumpet

Mark Nightingale: trombone

Sam Mayne: sax

Simon Allen: sax

Mornington Lockett: sax

Andy Cleyndert: bass

Clark Tracey: drums

Friday 1 February

Millennium Hall

Karen Sharp Quartet

Karen Sharp; sax

Nikki Iles; piano

Dave Green; bass

Steve Brown; drums

Friday 8 February

Millennium Hall

Empirical

Nathaniel Facey; alto sax

Tom Farmer; double bass

Shaney Forbes; drums

Lewis Wright; vibraphone

Friday 1 March

Millennium Hall

Liane Carroll Trio

Liane Carroll; vocals & piano

Roger Carey; bass

Mark Fletcher; drums

Friday 8 March

Crucible Studio

Mark Lockheart’s Ellington in Anticipation

Mark Lockheart: tenor sax

Emma Smith: violin

Finn Peters: alto sax

James Allsop: clarinets

Liam Noble: piano

Tom Herbert: bass

Seb Rochford: drums

Friday 15 March

Millennium Hall

Paul Booth Quintet

Paul Booth; saxes

Phil Robson; guitar

Mike Janisch; bass

Ross Stanley; piano

James Maddren; drums

Friday 22 March

Millennium Hall

Get The Blessing

Jim Barr; bass

Clive Deamer; drums

Jake McMurchie; sax

Pete Judge; trumpet

Friday 12 April

Millennium Hall

Troyka

Kit Downes: organ

Chris Montague: guitars, loops

Joshua Blackmore: drums

Friday 19 April

Millennium Hall

Soweto Kinch Trio

Soweto Kinch; sax etc

Karl Rasheed-Abel; bass

Shaney Forbes; drums

Friday 26 April

Millennium Hall

Peter King Quartet

Peter King; alto sax

Steve Melling; piano

Geoff Gascoyne; bass

Mark Fletcher; drums

Friday 10 May

Millennium Hall

Alex Hutton Trio

Alex Hutton; piano

Yuri Goloubev; bass

Asaf Sirkis; drums

Friday 17 May

Millennium Hall

Printmakers

Norma Winstone; voice

Nikki Iles; piano, accordion

Mark Lockheart; tenor & soprano sax & bass clarinet

Mike Walker; guitar

Steve Watts; double bass

James Maddren; drums

AUTUMN 2012

Friday 28 September 2012

Millennium Hall

Iain Dixon/Mike Walker Quintet

Mike Walker: guitar

Iain Dixon: saxophones

Les Chisnall: piano

Gary Culshaw: bass

Caroline Boaden: drums

http://www.mike-walker.co.uk/

Friday 5 October

Millennium Hall

Disassembler

Trevor Warren: guitar

Pete Wareham: sax

Annie Whitehead: trombone

Dudley Philips: bass

Winston Clifford: drums

www.myspace.com/disassembler

Friday 12 October

Millennium Hall

Kate Williams Septet

Kate Williams: piano

Gareth Lockrane: flute, alto and bass flutes

Steve Fishwick: trumpet/ flugelhorn

Ben Somers: tenor saxophone

Julian Siegel: tenor and soprano saxophones/bass clarinet

Oli Hayhurst: bass

Tristan Maillot: drums

www.kate-williams-quartet.com

Friday 19 October

Millennium Hall

Christine Tobin: Sailing to Byzantium

Christine Tobin: vocals

Liam Noble: piano

Phil Robson: guitar

Kate Short: cello

Dave Whitford: bass

http://www.christine-tobin.com/index.html

www.myspace.com/ctobes

Friday 9 November

Millennium Hall

Benn Clatworthy Quartet

Benn Clatworthy: saxes

John Donaldson: piano

Simon Thorpe: bass

Josh Morrison: drums

http://www.bennclatworthy.com/

Friday 16 November

Millennium Hall

Tim Lapthorn Trio with Bobby Wellins

Tim Lapthorn: piano

Bobby Wellins: saxes

Arnie Somogyi: bass

Stephen Keogh: drums

http://www.myspace.com/timlapthorntrio

http://bobbywellins.co.uk/

Friday 23 November

Millennium Hall

Neon

Stan Sulzmann: tenor sax

Kit Downes: piano

Jim Hart: vibes

Tim Giles: drums

http://stansulzmann.co.uk/neon/

Thursday 29 November

Crucible Studio

Django Bates’ Beloved

Django Bates: piano

Petter Eldh: bass

Peter Bruun: drums

www.myspace.com/djangobates

Friday 7 December

Millennium Hall

Heads South

John Harriman: keyboards

Steve Waterman: trumpet

Buster Birch: drums

Chino Martell Morgan: percussion

Adolfredo Pulido: bass

http://www.headssouth.com/

SPRING 2012

Fri Jan 20 2012

Millennium Hall

Alan Barnes Quintet featuring Scott Hamilton

Alan Barnes – alto, baritone sax

Scott Hamilton – tenor sax

Dave Newton – piano

Chris Hill - bass

Sebastiaan de Krom - drums

Fri Jan 27

Millennium Hall

Chris Biscoe Quartet

Chris Biscoe - saxes, clarinet, flute

Tony Kofi - alto sax

Larry Bartley - bass

Stu Butterfield - drums

Fri Feb 3

Millennium Hall

Zoe Rahman Quartet

Zoe Rahman – piano

Idris Rahman - clarinet

Davide Mantovani – bass

Gene Calderazzo - drums

Fri Feb 10

Millennium Hall

Ambulance

Arnie Somogyi – bass

Paul Booth – sax

Tim Lapthorn – piano

Dave Smith - drums

Fri Feb 17

Millennium Hall

Jim Mullen’s Reunion Quartet

Jim Mullen - guitar

Gareth Williams – piano

Gary Husband - drums

Mick Hutton - bass

Fri Mar 2

Millennium Hall

Damon Brown’s International Quintet

Damon Brown – trumpet

Christian Brewer – alto sax

Yutaka Shinna – piano

Martin Zenker – bass

Matt Skelton - drums

Fri Mar 9

Millennium Hall

Dave O’Higgins Quartet with Eric Alexander

Dave O’Higgins – tenor sax

Eric Alexander – tenor sax

Andrew McCormack – piano

Arnie Somogyi- bass

Kristian Leth - drums

Fri Mar 23

Millennium Hall

Kit Downes Quintet

Kit Downes – piano

Calum Gourlay – bass

James Maddren – drums

James Allsopp – bass clarinet

Lucy Railton - cello

Fri Mar 30

Millennium Hall

Ivo Neame Quintet

Ivo Neame – piano

Tori Freestone – sax

Jim Hart – vibes

Jasper Hoiby – bass

James Maddren – drums

Fri Apr 13

Crucible Studio

Gwilym Simcock / Klaus Gesing

Gwilym Simcock – piano

Klaus Gesing – saxophones and bass clarinet

Fri Apr 20

Millennium Hall

Michael Janisch New York Standards Quartet

Michael Janisch – bass

David Berkman - piano

Tim Armacost – sax

Gene Jackson - drums

Fri Apr 27

Greystones

Dagda Quartet featuring Jean Toussaint

Jean Toussaint – tenor sax

Tom Harrison – alto sax

Billy Adamson - guitar

Tom West – bass

Mike Clowes - drums

Fri May 11

Greystones

Chris Allard Band

Brandon Allen – sax

Chris Allard – guitar

Ross Stanley – piano

Oli Hayhurst – bass

Nick Smalley – drums

Fri May 18

Crucible Studio

. Tina May Quartet

Tina May – voice

Nikki Iles – piano

Julie Walkington –bass

Karen Street – accordion

Fri June 8

Greystones

Martin Speake Trio

Martin Speake – alto sax

Mike Outram – guitar

Jeff Williams - drums

AUTUMN 2011

September 23 2011

Millennium Hall

Mark McKnight Trio with Seamus Blake

Mark McKnight – guitar

Seamus Blake – saxophone

Ross Stanley – organ

James Maddren – drums

September 30

Millennium Hall

Denys Baptiste Quartet

Denys Baptiste – saxophone

Andrew McCormack – piano

Gary Crosby – bass

Rod Youngs - drums

October 7

Millennium Hall

Jay Phelps Quartet

Jay Phelps – trumpet

Jonathan Gee – piano

Tim Thornton – bass

Matt Home – drums

October 14

Millennium Hall

Gilad Atzmon Quartet

Gilad Atzmon –saxophone, clarinet, electronics,

Frank Harrison –piano

Yaron Stavi -bass

Eddie Hick –drums

Oct 21

Millennium Hall

Will Vinson / Tom Cawley Quartet

Will Vinson -saxophone

Tom Cawley –piano

Calum Gourlay –bass

James Maddren –drums

November 4

Millennium Hall

Liane Carroll Trio

Liane Carroll - voice & piano

Roger Carey - bass

Mark Fletcher – drums

November 11

Millennium Hall

Dennis Rollins Velocity Trio

Dennis Rollins –trombone

Ross Stanley –Hammond organ

Pedro Segundo –drums

November 18

Millennium Hall

Geoff Simkins Quartet

Geoff Simkins –alto sax

Nikki Iles – piano

Martin France – drums

Simon Woolf – bass

November 25

Millennium Hall

Neon

Stan Sulzmann – tenor sax

Kit Downes - piano

Jim Hart - vibes

Tim Giles - drums

Wednesday November 30 Crucible Studio

John Taylor Trio

John Taylor – piano

Palle Daniellson – bass

Martin France – drums

December 9

Millennium Hall

Jamil Sheriff big band

Saxophones/Flutes - Russell Henderson, Simon Kaylor, Tori Freestone, Joel Purnell.

Trumpets - Simon Bedows, Sean Hollis, Mark Chandler, Simon Nixon.

Trombones - Kevin Holborough, Stuart Garside, Chris Hibbard, Rosie Nicholl.

Drums - Eryl Roberts

Guitar - Jamie Taylor

Bass - Garry Jackson

Piano - Jamil Sheriff

December 16

Millennium Hall

Julian Siegel Quartet

Julian Siegel – tenor sax

Liam Noble – piano

Gene Calderazzo – drums

Oli Hayhurst – bass

SPRING 2011

Saturday January 22nd 2011

Millennium Hall

Phil Robson

& the Instant Message Quintet featuring Mark Turner

Phil Robson - guitar

Mark Turner - sax

Michael Janisch – bass

Gareth Lockrane - flute

Ernesto Simpson – drums

Friday January 28th

Millennium Hall

The Mick Hutton Group

Mick Hutton – double bass

Andy Panayi – saxes, flute

Mark Edwards – piano

Paul Robinson - drums

Friday February 11th

Millennium Hall

Jay Phelps Quintet

Jay Phelps – trumpet

Shabaka Hutchings – saxes/clarinet

Gene Calderazzo – drums

Karl Rasheed-Abel – bass

Jonathan Gee - piano

Dylan Howe Quartet

Brandon Allen – tenor sax

Ross Stanley – piano

Chris Hill – bass

Dylan Howe - drums

Friday March 4th

Millennium Hall

Steve Waterman Quintet

‘Buddy Bolden Blew it’

Steve Waterman - trumpet

Chris Allard - guitar

Anthony Kerr - vibes

Alec Dankworth – bass

Dave Barry – drums

Friday March 11th

Millennium Hall

Sam Crockatt Quartet

Sam Crockatt – tenor sax

Kit Downes – piano

Oli Hayhurst – bass

Ben Reynolds – drums

Friday March 25th

2011

Millennium Hall

John Donaldson Sextet

plays the music of

Bheki Mseleku

John Donaldson – piano

Peter King – alto sax

Ian Price – tenor sax

Simon Thorpe – bass

Tristan Banks - drums

Quentin Collins - trumpet

Saturday April 2nd

Crucible Studio

Storms / Nocturnes

Tim Garland – saxes

Joe Locke – vibes

Geoffrey Keezer - piano

Friday April 15th

Millennium Hall

Kairos Quartet

Adam Waldmann – sax

Jasper Hoiby – bass

Rob Barron – piano

Jon Scott - drums

Friday May 6th

Millennium Hall

Trio Wah!

Jason Yarde – saxes

Larry Bartley – bass

Mike Pickering – drums

Friday May 13th

Millennium Hall

Mike Walker Sextet

Mike Walker – guitar

Iain Dixon – saxes

James Maddren – drums

Les Chisnall – piano

Malcolm Edmonstone – keys

Friday May 20th

Millennium Hall

Arnie Somogyi’s Scenes in the City

Alan Barnes – sax

Tony Kofi – sax

Alistair White – trombone

Mark Edwards – piano

Arnie Somogyi – bass

Clark Tracey - drums

AUTUMN 2010

Friday

17th September 2010

Millennium Hall

Gilad Atzmon

‘Orient House Ensemble’

Gilad Atzmon – tenor sax

Frank Harrison – piano

Yaron Stavi - bass

Eddie Hick – drums

www.gilad.co.uk

Friday

24th September

Millennium Hall

Karen Sharp Quartet

Karen Sharp– tenor & baritone sax

Nikki Iles – piano

Dave Green – bass

Steve Brown – drums

www.karensharp.net

www.myspace.com/karensharpsax

Friday

1st October

Millennium Hall

Tony Kofi

‘Standard Time’

Tony Kofi – alto sax

David Chamberlain – bass

Rod Youngs – drums

www.myspace.com/tonykofi

www.tonykofimusic.com

Friday

8th October

Millennium Hall

IDST

Tommy Evans - drums

Johnny Tomlinson –piano

Nick Tyson - guitar

Seth Bennet - bass

Simon Beddoe -trumpet

Simon Kaylor - tenor sax

www.myspace.com/idstmusic

Friday

15th October

Millennium Hall

Simon Purcell Quintet

Simon Purcell – piano

Julian Siegel – tenor sax

Chris Batchelor – trumpet

Gene Calderazzo – drums

Steve Watts – bass

www.simonpurcell.com

www.simonpurcell.wordpress.com

www.juliansiegel.com www.genecalderazzo.com

Friday

22nd October

Millennium Hall

£5 / 3 Sheffield University Jazz Orchestra

Friday

29th October

Millennium Hall

Benn Clatworthy Quartet

Benn Clatworthy – tenor sax

Cecilia Coleman – piano

Simon Thorpe - bass

Gene Calderazzo – drums

www.bennclatworthy.com

www.ceciliacoleman.com

Friday

5th November

Millennium Hall

Kit Downes Trio

Kit Downes – piano

Calum Gourlay – bass

James Maddren drums

www.kitdownes.com

www.myspace.com/kitsmusic

Saturday

20th November

at Crucible Studio

Stan Tracey Octet

Stan Tracey – piano

Andy Cleyndert – bass

Clark Tracey – drums

Guy Barker -trumpet

Mornington Lockett – tenor & soprano sax

Sammy Mayne – alto sax

Simon Allen – tenor sax

Mark Nightingale – trombone

www.stantracey.com

Friday

26th November

Millennium Hall

Sweet Chorus

John Etheridge - guitar

Christian Garrick – violin

Dave Kelbie – rhythm guitar

Pete Kubryk-Townsend – bass

www.johnetheridge.com

Friday

3rd December

Millennium Hall

Mike Walker Sextet

Mike Walker – guitar

Iain Dixon – saxes

James Maddren – drums

Les Chisnall – piano

Malcolm Edmonstone – keys

Steve Watts - bass

www.mike-walker.co.uk

Friday

10th December

Millennium Hall

Michael Janisch Quintet

Michael Janisch – bass

Paul Booth - tenor sax

Jay Phelps - trumpet

Jim Hart - vibes

Andrew Bain - drums

www.michaeljanisch.com

www.myspace.com/michaeljanisch

[Big Beat Steve]

Who says the music I love is filled with "far-out wierd noises"?

You do!!!

Young people who are into rock or techno or hip hop will not and do not necessarily hear a tenor saxophone being played brilliantly which might include altissimo or overblowing as "far-out wierd noises".

Your stereotyping and generalizations about music you are barely familiar with can only be matched by the volume of words you apply to denigrate such music.

My deepest apologies - really.

I am aware of your musical inclinations and certainly did not mean to dismiss YOUR jazz. No offense meant - honestly - what I DID try to do (hence this "generalization" in QUOTATION MARKS) is to describe the reactions to jazz by many non-jazz fans as I unfortunately have encountered them myself time and again.

And to make this clear - this "far out weird noises" description (that sums up how THEY'd describe it, not me) would have applied indiscriminately to anything from Bird via high-note big band sounds such as Maynard Ferguson's or their more recent equivalents up to Coltrane (even before his "free" period) and to any other sort of more forceful modern jazz.

I.e. what they experienced as "weird" was not necessarily free jazz/avantgarde - quite to the contrary and to my dismay. But that's how it all too often is ... unfortunately ...

I have tried some convincing there myself and sometimes have even succeeded, but not by playing them more of what they'd file under "noise" at first hearing but something a LITTLE less alien to them (to give them a chance to adjust their ears gradually instead of forcing a sonic assault on them in one single go the first time around).

As for this statement of yours ..

These potential new listeners might, in fact, find more subdued or historical forms of jazz limited in sound and not nearly aggressive, bracing, striking or intense enough based on many modern forms of music that include many sounds/approaches that they have listened to - sounds that the free jazz and avant-garde masters have incorporated into their music over the past 50 years. Why the best of these forms remain vibrant, fresh and alive. Because they are still in the process of creation. Often seemingly timeless - but if one's ears are open, the music is there to be heard.

This is exactly why you don't give current potential jazz listener's ears the credit they deserve. Many are much more likely (as I was 25 years ago) to be more turned on by current jazz/improv than historical music - let alone by sorry ass recreation of such music.

... I hear you and I'd be the first one to appreciate being proven wrong. And if they get into your favorite style of jazz via that entry route - fine. But how come, then, that everybody is complaining about "jazz" (again: WHICH style of jazz?) being such a dying music form? If sonic experiences overlap to that extent and the kids are all open for this kind of jazz there should be no lack of fresh blood?

As for that "sorry ass recreation", well, i won't go into this at length, except that I'm wondering whose ears aren't open enough now (to nuances, anyway). Maybe a generation gap thing? I have been told the younger'uns need utter intensity and extremeness in order to be really stimulated, otherwise they won't be stimulated enough at all. (Which should tie in with your "aggressive and intense enough" statement above ... ).

Edited March 16, 2015 by Big Beat Steve

[BillF]

These are the gigs put on by my closest regular jazz club in Sheffield in the last few years. Nottingham has a similar history (I've been going there on and off since 1980.

It might not indicate a genre that is central to current music. But it shows that there is a thoroughly healthy circuit. Most of those names won't mean much beyond Britain and Europe. But a lot of them are young players who have somehow stumbled into the music.

Friday 3 October

Millennium Hall

Gilad Atzmon’s Orient House Ensemble

Gilad Atzmon: saxophones

Frank Harrison: piano

Yaron Stavi: bass

Chris Higginbottom: drums

Friday 10 October

Millennium Hall

Zhenya Strigalev’s Smiling Organizm Trio

Zhenya Strigalev: alto sax

Michael Janisch; bass

James Maddren: drums

Friday 17 October

at 19.15

Crucible Studio

Enrico Pieranunzi Trio

Enrico Pieranunzi: piano

Pete Turner: bass

Dave Walsh: drums

Friday 24 October

Millennium Hall

Ollie Howell Quintet

Ollie Howell: drums

Max Luthert: bass

Matt Robinson: piano

Duncan Eagles: tenor sax

Mark Perry: trumpet

Friday 31 October

Millennium Hall

Sheffield University Big Band

Friday 7 November

Millennium Hall

Beats & Pieces Big Band

Ben Cottrell: director

Anthony Brown, Sam Healey, Ben Watte: saxophones

Ed Horsey, Simon Lodge, Rich McVeigh: trombones

Owen Bryce, Graham South, Nick Walters: trumpets

Anton Hunter: guitar

Patrick Hurley: piano

Harrison Wood: bass

Alex Tod: drums

Thursday 13 November

at 20.00

Auditorium, Sheffield University Students Union

Polar Bear

Mark Lockheart: tenor sax

Pete Wareham: tenor sax

Tom Herbert: double bass

Leafcutter John: electronics, guitar etc.

Seb Rochford: drums

Friday 21 November

Millennium Hall

Benn Clatworthy Quartet

Benn Clatworthy: saxophones

Cecilia Coleman: piano

Simon Thorpe: bass

Matt Home: drums

Friday 28 November

at 19.30

Crucible Studio

Gwilym Simcock/Yuri Goloubev Duo

Gwilym Simcock: piano

Yuri Goloubev: bass

Friday 5 December

Millennium Hall

Neon Quartet

Stan Sulzmann: tenor sax

Kit Downes: piano

Jim Hart: vibes

Tim Giles: drums

SPRING 2014

Friday 24 January 2014

Millennium Hall

Ian Shaw

Ian Shaw: vocals

Barry Green: piano

Friday 31 January

Millennium Hall

Gary Crosby’s Groundation

Gary Crosby: bass

Nathaniel Facey: alto sax

Moses Boyd: drums

Shirley Tetteh: guitar

Friday 7 February

Millennium Hall

Kit Downes Quintet

Kit Downes: piano

Calum Gourlay: bass

James Maddren: drums

James Allsopp: bass clarinet

Lucy Railton: cello

Friday 14 February

Millennium Hall

Dennis Rollins’ Velocity Trio

Dennis Rollins: trombone & electronics

Ross Stanley: Hammond organ

Pedro Segundo: drums & percussion

Friday 7 March

Millennium Hall

MJQ Celebration

Jim Hart: vibraphone

Barry Green: piano

Steve Brown: drums

Matt Ridley: bass

Friday 14 March

at 19.30

Crucible Studio

Jay Phelps Sextet: Projections of Miles

Jay Phelps: trumpet

Denys Baptiste: tenor saxophone

Logan Richardson: alto saxophone

Jonathan Gee: piano

Tim Thornton: bass

Shane Forbes: drums

Friday 21 March

Millennium Hall

Jean Toussaint Quartet

Jean Toussaint: tenor sax

Andrew McCormack: piano

Larry Bartley: bass

Troy Miller: drums

Thursday 27 March

at 20.00

Auditorium, Sheffield University Students Union

Get The Blessing

Jim Barr: bass

Clive Deamer: drums

Jake McMurchie: saxophone

Pete Judge: trumpet

Friday 4 April

Millennium Hall

Brandon Allen Quartet

Brandon Allen: saxes

Ross Stanley: piano

Mick Hutton: bass

Chris Higginbottom: drums

Friday 11 April

Millennium Hall

John Turville Trio

John Turville: piano

Calum Gourlay: bass

Ben Reynolds: drums

Friday 25 April

Millennium Hall

Led Bib

Mark Holub: drums

Pete Grogan: alto saxophone

Chris Williams: alto saxophone

Liran Donin: double bass

Toby McLaren: keyboards

Friday 2 May

Millennium Hall

Michael Wollny’s [em]

Michael Wollny: piano

Tim Lefebvre: bass

Eric Schaefer: drums

Friday 9 May

Millennium Hall

Julian Siegel Quartet

Julian Siegel: saxophones & clarinet

Liam Noble: piano & synthesisers

Oli Hayhurst: bass

Gene Calderazzo: drums

Friday 16 May

Millennium Hall

Anita Wardell/ Dave O’Higgins Quintet

Anita Wardell: vocals

Dave O’Higgins: saxophones

Mike Gorman: piano

Oli Hayhurst: bass

Tristan Mailliot: drums

AUTUMN 2013

Friday 4/10 2013

Millennium Hall

Tina May 4

Tina May – vocals

Nikki Iles – piano

Mark Hodgson – bass

Stephen Keogh - drums

Friday 11/10

Millennium Hall

Alan Barnes/ Bruce Adams 5

Alan Barnes - saxes/ clarinet

Bruce Adams – trumpet

Robin Aspland – piano Simon Thorpe – bass

Matt Home - drums

Friday 18/10

Millennium Hall

Liam Noble 5

Liam Noble – piano

Shabaka Hutchings – tenor saxophone and clarinet

Chris Batchelor – trumpet

Dave Whitford – bass

Dave Wickins – drums

Friday 25/10

Millennium Hall

Louis Moholo-Moholo 4

Louis Moholo-Moholo – drums

Alex Hawkins – piano

Jason Yarde – saxophones

John Edwards – bass

Friday 1/11

Millennium Hall

Sheffield University Big Band

Friday 8/11

Millennium Hall

Scenes in The City - The Music of Charles Mingus

Tony Kofi – saxophones

Karen Sharp – saxophones

Jeremy Price – trombone

Mark Edwards – piano

Arnie Somogyi – bass

Clark Tracey – drums

Friday 15/11

Millennium Hall

Stuart McCallum Trio with Reel Strings

Stuart McCallum - guitars/laptop

Pete Turner – bass

Dave Walsh – drums

Thol Mason, Steve Cordiner – violins

Tanah Stevens – viola

Ben Cashell - 'cello

Friday 22/11

Millennium Hall

Pinski Zoo

Jan Kopinski – saxes

Steve Iliffe – keys

Karl Bingham – bass

Stefan Kopinski – bass

Patrick Illingworth - drums

Friday 29/11

at 19.30

Crucible Studio

Zoe Rahman Trio

Zoe Rahman – piano

Alec Dankworth – bass

Gene Calderazzo - drums

Friday 6/12

Millennium Hall

Apitos

Dave Hassell – timbales

Steve Gilbert – drums

Chris Manus – conga

Steve Williams – bass

Paul Kilvington – piano

Glen Cartledge – guitar

Nick Smart – trumpet

John Hinch - 2nd trumpet

Andy Scott – saxophones

John Barber – trombone

Orli Nyles - vocal

SPRING 2013

Friday 18 January 2013

Millennium Hall

Gilad Atzmon Orient House Ensemble

Gilad Atzmon: sax

Frank Harrison: piano

Yaron Stavi: bass

Eddie Hick: drums

Friday 25 January

Crucible Studio

Stan Tracey Octet

Stan Tracey: piano

Mark Armstrong: trumpet

Mark Nightingale: trombone

Sam Mayne: sax

Simon Allen: sax

Mornington Lockett: sax

Andy Cleyndert: bass

Clark Tracey: drums

Friday 1 February

Millennium Hall

Karen Sharp Quartet

Karen Sharp; sax

Nikki Iles; piano

Dave Green; bass

Steve Brown; drums

Friday 8 February

Millennium Hall

Empirical

Nathaniel Facey; alto sax

Tom Farmer; double bass

Shaney Forbes; drums

Lewis Wright; vibraphone

Friday 1 March

Millennium Hall

Liane Carroll Trio

Liane Carroll; vocals & piano

Roger Carey; bass

Mark Fletcher; drums

Friday 8 March

Crucible Studio

Mark Lockheart’s Ellington in Anticipation

Mark Lockheart: tenor sax

Emma Smith: violin

Finn Peters: alto sax

James Allsop: clarinets

Liam Noble: piano

Tom Herbert: bass

Seb Rochford: drums

Friday 15 March

Millennium Hall

Paul Booth Quintet

Paul Booth; saxes

Phil Robson; guitar

Mike Janisch; bass

Ross Stanley; piano

James Maddren; drums

Friday 22 March

Millennium Hall

Get The Blessing

Jim Barr; bass

Clive Deamer; drums

Jake McMurchie; sax

Pete Judge; trumpet

Friday 12 April

Millennium Hall

Troyka

Kit Downes: organ

Chris Montague: guitars, loops

Joshua Blackmore: drums

Friday 19 April

Millennium Hall

Soweto Kinch Trio

Soweto Kinch; sax etc

Karl Rasheed-Abel; bass

Shaney Forbes; drums

Friday 26 April

Millennium Hall

Peter King Quartet

Peter King; alto sax

Steve Melling; piano

Geoff Gascoyne; bass

Mark Fletcher; drums

Friday 10 May

Millennium Hall

Alex Hutton Trio

Alex Hutton; piano

Yuri Goloubev; bass

Asaf Sirkis; drums

Friday 17 May

Millennium Hall

Printmakers

Norma Winstone; voice

Nikki Iles; piano, accordion

Mark Lockheart; tenor & soprano sax & bass clarinet

Mike Walker; guitar

Steve Watts; double bass

James Maddren; drums

AUTUMN 2012

Friday 28 September 2012

Millennium Hall

Iain Dixon/Mike Walker Quintet

Mike Walker: guitar

Iain Dixon: saxophones

Les Chisnall: piano

Gary Culshaw: bass

Caroline Boaden: drums

http://www.mike-walker.co.uk/

Friday 5 October

Millennium Hall

Disassembler

Trevor Warren: guitar

Pete Wareham: sax

Annie Whitehead: trombone

Dudley Philips: bass

Winston Clifford: drums

www.myspace.com/disassembler

Friday 12 October

Millennium Hall

Kate Williams Septet

Kate Williams: piano

Gareth Lockrane: flute, alto and bass flutes

Steve Fishwick: trumpet/ flugelhorn

Ben Somers: tenor saxophone

Julian Siegel: tenor and soprano saxophones/bass clarinet

Oli Hayhurst: bass

Tristan Maillot: drums

www.kate-williams-quartet.com

Friday 19 October

Millennium Hall

Christine Tobin: Sailing to Byzantium

Christine Tobin: vocals

Liam Noble: piano

Phil Robson: guitar

Kate Short: cello

Dave Whitford: bass

http://www.christine-tobin.com/index.html

www.myspace.com/ctobes

Friday 9 November

Millennium Hall

Benn Clatworthy Quartet

Benn Clatworthy: saxes

John Donaldson: piano

Simon Thorpe: bass

Josh Morrison: drums

http://www.bennclatworthy.com/

Friday 16 November

Millennium Hall

Tim Lapthorn Trio with Bobby Wellins

Tim Lapthorn: piano

Bobby Wellins: saxes

Arnie Somogyi: bass

Stephen Keogh: drums

http://www.myspace.com/timlapthorntrio

http://bobbywellins.co.uk/

Friday 23 November

Millennium Hall

Neon

Stan Sulzmann: tenor sax

Kit Downes: piano

Jim Hart: vibes

Tim Giles: drums

http://stansulzmann.co.uk/neon/

Thursday 29 November

Crucible Studio

Django Bates’ Beloved

Django Bates: piano

Petter Eldh: bass

Peter Bruun: drums

www.myspace.com/djangobates

Friday 7 December

Millennium Hall

Heads South

John Harriman: keyboards

Steve Waterman: trumpet

Buster Birch: drums

Chino Martell Morgan: percussion

Adolfredo Pulido: bass

http://www.headssouth.com/

SPRING 2012

Fri Jan 20 2012

Millennium Hall

Alan Barnes Quintet featuring Scott Hamilton

Alan Barnes – alto, baritone sax

Scott Hamilton – tenor sax

Dave Newton – piano

Chris Hill - bass

Sebastiaan de Krom - drums

Fri Jan 27

Millennium Hall

Chris Biscoe Quartet

Chris Biscoe - saxes, clarinet, flute

Tony Kofi - alto sax

Larry Bartley - bass

Stu Butterfield - drums

Fri Feb 3

Millennium Hall

Zoe Rahman Quartet

Zoe Rahman – piano

Idris Rahman - clarinet

Davide Mantovani – bass

Gene Calderazzo - drums

Fri Feb 10

Millennium Hall

Ambulance

Arnie Somogyi – bass

Paul Booth – sax

Tim Lapthorn – piano

Dave Smith - drums

Fri Feb 17

Millennium Hall

Jim Mullen’s Reunion Quartet

Jim Mullen - guitar

Gareth Williams – piano

Gary Husband - drums

Mick Hutton - bass

Fri Mar 2

Millennium Hall

Damon Brown’s International Quintet

Damon Brown – trumpet

Christian Brewer – alto sax

Yutaka Shinna – piano

Martin Zenker – bass

Matt Skelton - drums

Fri Mar 9

Millennium Hall

Dave O’Higgins Quartet with Eric Alexander

Dave O’Higgins – tenor sax

Eric Alexander – tenor sax

Andrew McCormack – piano

Arnie Somogyi- bass

Kristian Leth - drums

Fri Mar 23

Millennium Hall

Kit Downes Quintet

Kit Downes – piano

Calum Gourlay – bass

James Maddren – drums

James Allsopp – bass clarinet

Lucy Railton - cello

Fri Mar 30

Millennium Hall

Ivo Neame Quintet

Ivo Neame – piano

Tori Freestone – sax

Jim Hart – vibes

Jasper Hoiby – bass

James Maddren – drums

Fri Apr 13

Crucible Studio

Gwilym Simcock / Klaus Gesing

Gwilym Simcock – piano

Klaus Gesing – saxophones and bass clarinet

Fri Apr 20

Millennium Hall

Michael Janisch New York Standards Quartet

Michael Janisch – bass

David Berkman - piano

Tim Armacost – sax

Gene Jackson - drums

Fri Apr 27

Greystones

Dagda Quartet featuring Jean Toussaint

Jean Toussaint – tenor sax

Tom Harrison – alto sax

Billy Adamson - guitar

Tom West – bass

Mike Clowes - drums

Fri May 11

Greystones

Chris Allard Band

Brandon Allen – sax

Chris Allard – guitar

Ross Stanley – piano

Oli Hayhurst – bass

Nick Smalley – drums

Fri May 18

Crucible Studio

. Tina May Quartet

Tina May – voice

Nikki Iles – piano

Julie Walkington –bass

Karen Street – accordion

Fri June 8

Greystones

Martin Speake Trio

Martin Speake – alto sax

Mike Outram – guitar

Jeff Williams - drums

AUTUMN 2011

September 23 2011

Millennium Hall

Mark McKnight Trio with Seamus Blake

Mark McKnight – guitar

Seamus Blake – saxophone

Ross Stanley – organ

James Maddren – drums

September 30

Millennium Hall

Denys Baptiste Quartet

Denys Baptiste – saxophone

Andrew McCormack – piano

Gary Crosby – bass

Rod Youngs - drums

October 7

Millennium Hall

Jay Phelps Quartet

Jay Phelps – trumpet

Jonathan Gee – piano

Tim Thornton – bass

Matt Home – drums

October 14

Millennium Hall

Gilad Atzmon Quartet

Gilad Atzmon –saxophone, clarinet, electronics,

Frank Harrison –piano

Yaron Stavi -bass

Eddie Hick –drums

Oct 21

Millennium Hall

Will Vinson / Tom Cawley Quartet

Will Vinson -saxophone

Tom Cawley –piano

Calum Gourlay –bass

James Maddren –drums

November 4

Millennium Hall

Liane Carroll Trio

Liane Carroll - voice & piano

Roger Carey - bass

Mark Fletcher – drums

November 11

Millennium Hall

Dennis Rollins Velocity Trio

Dennis Rollins –trombone

Ross Stanley –Hammond organ

Pedro Segundo –drums

November 18

Millennium Hall

Geoff Simkins Quartet

Geoff Simkins –alto sax

Nikki Iles – piano

Martin France – drums

Simon Woolf – bass

November 25

Millennium Hall

Neon

Stan Sulzmann – tenor sax

Kit Downes - piano

Jim Hart - vibes

Tim Giles - drums

Wednesday November 30 Crucible Studio

John Taylor Trio

John Taylor – piano

Palle Daniellson – bass

Martin France – drums

December 9

Millennium Hall

Jamil Sheriff big band

Saxophones/Flutes - Russell Henderson, Simon Kaylor, Tori Freestone, Joel Purnell.

Trumpets - Simon Bedows, Sean Hollis, Mark Chandler, Simon Nixon.

Trombones - Kevin Holborough, Stuart Garside, Chris Hibbard, Rosie Nicholl.

Drums - Eryl Roberts

Guitar - Jamie Taylor

Bass - Garry Jackson

Piano - Jamil Sheriff

December 16

Millennium Hall

Julian Siegel Quartet

Julian Siegel – tenor sax

Liam Noble – piano

Gene Calderazzo – drums

Oli Hayhurst – bass

SPRING 2011

Saturday January 22nd 2011

Millennium Hall

Phil Robson

& the Instant Message Quintet featuring Mark Turner

Phil Robson - guitar

Mark Turner - sax

Michael Janisch – bass

Gareth Lockrane - flute

Ernesto Simpson – drums

Friday January 28th

Millennium Hall

The Mick Hutton Group

Mick Hutton – double bass

Andy Panayi – saxes, flute

Mark Edwards – piano

Paul Robinson - drums

Friday February 11th

Millennium Hall

Jay Phelps Quintet

Jay Phelps – trumpet

Shabaka Hutchings – saxes/clarinet

Gene Calderazzo – drums

Karl Rasheed-Abel – bass

Jonathan Gee - piano

Dylan Howe Quartet

Brandon Allen – tenor sax

Ross Stanley – piano

Chris Hill – bass

Dylan Howe - drums

Friday March 4th

Millennium Hall

Steve Waterman Quintet

‘Buddy Bolden Blew it’

Steve Waterman - trumpet

Chris Allard - guitar

Anthony Kerr - vibes

Alec Dankworth – bass

Dave Barry – drums

Friday March 11th

Millennium Hall

Sam Crockatt Quartet

Sam Crockatt – tenor sax

Kit Downes – piano

Oli Hayhurst – bass

Ben Reynolds – drums

Friday March 25th

2011

Millennium Hall

John Donaldson Sextet

plays the music of

Bheki Mseleku

John Donaldson – piano

Peter King – alto sax

Ian Price – tenor sax

Simon Thorpe – bass

Tristan Banks - drums

Quentin Collins - trumpet

Saturday April 2nd

Crucible Studio

Storms / Nocturnes

Tim Garland – saxes

Joe Locke – vibes

Geoffrey Keezer - piano

Friday April 15th

Millennium Hall

Kairos Quartet

Adam Waldmann – sax

Jasper Hoiby – bass

Rob Barron – piano

Jon Scott - drums

Friday May 6th

Millennium Hall

Trio Wah!

Jason Yarde – saxes

Larry Bartley – bass

Mike Pickering – drums

Friday May 13th

Millennium Hall

Mike Walker Sextet

Mike Walker – guitar

Iain Dixon – saxes

James Maddren – drums

Les Chisnall – piano

Malcolm Edmonstone – keys

Friday May 20th

Millennium Hall

Arnie Somogyi’s Scenes in the City

Alan Barnes – sax

Tony Kofi – sax

Alistair White – trombone

Mark Edwards – piano

Arnie Somogyi – bass

Clark Tracey - drums

AUTUMN 2010

Friday

17th September 2010

Millennium Hall

Gilad Atzmon

‘Orient House Ensemble’

Gilad Atzmon – tenor sax

Frank Harrison – piano

Yaron Stavi - bass

Eddie Hick – drums

www.gilad.co.uk

Friday

24th September

Millennium Hall

Karen Sharp Quartet

Karen Sharp– tenor & baritone sax

Nikki Iles – piano

Dave Green – bass

Steve Brown – drums

www.karensharp.net

www.myspace.com/karensharpsax

Friday

1st October

Millennium Hall

Tony Kofi

‘Standard Time’

Tony Kofi – alto sax

David Chamberlain – bass

Rod Youngs – drums

www.myspace.com/tonykofi

www.tonykofimusic.com

Friday

8th October

Millennium Hall

IDST

Tommy Evans - drums

Johnny Tomlinson –piano

Nick Tyson - guitar

Seth Bennet - bass

Simon Beddoe -trumpet

Simon Kaylor - tenor sax

www.myspace.com/idstmusic

Friday

15th October

Millennium Hall

Simon Purcell Quintet

Simon Purcell – piano

Julian Siegel – tenor sax

Chris Batchelor – trumpet

Gene Calderazzo – drums

Steve Watts – bass

www.simonpurcell.com

www.simonpurcell.wordpress.com

www.juliansiegel.com www.genecalderazzo.com

Friday

22nd October

Millennium Hall

£5 / 3 Sheffield University Jazz Orchestra

Friday

29th October

Millennium Hall

Benn Clatworthy Quartet

Benn Clatworthy – tenor sax

Cecilia Coleman – piano

Simon Thorpe - bass

Gene Calderazzo – drums

www.bennclatworthy.com

www.ceciliacoleman.com

Friday

5th November

Millennium Hall

Kit Downes Trio

Kit Downes – piano

Calum Gourlay – bass

James Maddren drums

www.kitdownes.com

www.myspace.com/kitsmusic

Saturday

20th November

at Crucible Studio

Stan Tracey Octet

Stan Tracey – piano

Andy Cleyndert – bass

Clark Tracey – drums

Guy Barker -trumpet

Mornington Lockett – tenor & soprano sax

Sammy Mayne – alto sax

Simon Allen – tenor sax

Mark Nightingale – trombone

www.stantracey.com

Friday

26th November

Millennium Hall

Sweet Chorus

John Etheridge - guitar

Christian Garrick – violin

Dave Kelbie – rhythm guitar

Pete Kubryk-Townsend – bass

www.johnetheridge.com

Friday

3rd December

Millennium Hall

Mike Walker Sextet

Mike Walker – guitar

Iain Dixon – saxes

James Maddren – drums

Les Chisnall – piano

Malcolm Edmonstone – keys

Steve Watts - bass

www.mike-walker.co.uk

Friday

10th December

Millennium Hall

Michael Janisch Quintet

Michael Janisch – bass

Paul Booth - tenor sax

Jay Phelps - trumpet

Jim Hart - vibes

Andrew Bain - drums

www.michaeljanisch.com

www.myspace.com/michaeljanisch

Many, many familiar faces there - they also find their way to my part of the world. But I don't know why you mention young players, as the average age would be at least in the forties on my reckoning. However, that's a couple of decades younger than the audience for these people in my experience!

[Scott Dolan]

And to make this clear - this "far out weird noises" description (that sums up how THEY'd describe it, not me) would have applied indiscriminately to anything from Bird via high-note big band sounds such as Maynard Ferguson's or their more recent equivalents up to Coltrane (even before his "free" period) and to any other sort of more forceful modern jazz.

The bolded part really tells the story, does it not? The underlined sections gave me a laugh. Though "recent" and "modern" shouldn't apply, they actually do. Unfortunately.

And as the infamous Seinfeld line went, "there's nothing WRONG with that!" Really, there isn't. Which is a point that some folks in the Jazz circle of friends don't seem to get. If nobody else ever played a Jazz-related note and the genre officially died right here and right now, there'd still be a lifetime a wonderful music for someone to explore and enjoy. Unless mankind started living to be 200 years old.

Master Reynolds, what's wrong with 'far-out, weird noises'?! Those of us who enjoy them should revel in the fact that they ARE "different".

Does "popularity" really matter to any of us that much?

[ejp626]

It's also a bit less impressive when you realize the list covers several years (not one season) and more than a few players have passed away due to old age. This always happens when someone starts questioning the significance or self-sufficiency of something that is pretty evidently in decline yet has a few fervent adherents.

Upthread someone said it best, talking about jazz lovers being in a cocoon, tuning out unpleasant news. And for the most part paying far more attention to remastered material they own on 2 or 3 releases already than to new music, which is either too hot (brash avant jazz) or too cold (boring retreads of bop and postbop music by young lions who aren't fit to carry Miles' mouthpiece). It's just the stuff from the past that is just right...

[A Lark Ascending]

(re: Bill Fs last post)

I said there are a lot of young players there - 20s/30s - merely to illustrate how there are still plenty of young people getting excited enough about jazz to play it as a profession (probably alongside other things).

Agree on the audience age difference. Reflects something I said a few days back about the financially/career insecure young making a living serving the entertainment needs of the more affluent older generations.

Interesting that a couple of more recent gigs - Troyka and Polar Bear - have not been held in the usual venue but in Sheffield University students' union (apart from work commitments I found the idea of going to a students' union a bit worrying; maybe students feel the same way about going to a jazz club). Didn't get to either but would be interesting to have seen if there was an age difference.

Edited March 16, 2015 by A Lark Ascending

[ejp626]

(re: Bill Fs last post)

I said there are a lot of young players there - 20s/30s - merely to illustrate how there are still plenty of young people getting excited enough about jazz to play it as a profession (probably alongside other things).

Agree on the audience age difference. Reflects something I said a few days back about the financially/career insecure young making a living serving the entertainment needs of the more affluent older generations.

Interesting that a couple of more recent gigs - Troyka and Polar Bear - have not been held in the usual venue but in Sheffield University students' union (apart from work commitments I found the idea of going to a students' union a bit worrying; maybe students feel the same way about going to a jazz club). Didn't get to either but would be interesting to have seen if there was an age difference.

To be fair, I did make it to an Electric Ladyland gig (many of the members are also in Polar Bear) at a street fair in London and the crowd was pretty young. This is a crossover thing (also Get the Blessing) that seems to be succeeding in the UK in a way that I don't see in North America (except perhaps for New York of course, which is the ultimate outlier).

[A Lark Ascending]

It's also a bit less impressive when you realize the list covers several years (not one season) and more than a few players have passed away due to old age. This always happens when someone starts questioning the significance or self-sufficiency of something that is pretty evidently in decline yet has a few fervent adherents.

I'm not claiming that this is on a scale with 52nd Street. Just that their is a sustainable circuit at work for a niche music. I noticed recently that several who play in Sheffield are just up the road in Wakefield a night before or after. I'm sure the finances are all on a knife edge. But there are a lot of people still passionate enough to do it, despite that.

Most of the bands there are neither avant nor neo-bop. We get our fair share of 'Tribute to ....' type bands through but most of the ones I go to see are playing original music. It might not be reinventing-the-genre-different (though some of the punkier bands' publicists would like us to think they are) but its distinctive stuff that captures my interest.

[A Lark Ascending]

To be fair, I did make it to an Electric Ladyland gig (many of the members are also in Polar Bear) at a street fair in London and the crowd was pretty young. This is a crossover thing (also Get the Blessing) that seems to be succeeding in the UK in a way that I don't see in North America (except perhaps for New York of course, which is the ultimate outlier).

I don't think Acoustic Ladyland exist any more. But they were at the forefront of a whole group of bands who were heavily linked into Indie-rock (probably a wrong term on my part). Seb Rochford, a great jazz drummer, makes a big thing about his links there. Get the Blessing also lean that way - I think they have a connection with the rock band Portishead. I lost touch with much of that - a few too many thrash-metal jazz bands for me! But all part of the varied web.

But there really are scores of practising younger musicians who often play music we'd all recognise as primarily jazz that is neither comfortably within a past style (not that there's anything wrong with that) or right out on the edge.

[Hot Ptah]

Maybe that formulaic radio programming of most of your radio stations is to blame in part that people just don't get exposed to anything but the most obvious acts and styles of music?

OTOH I hear ever so often from people over here who spend some (holiday) time and travel in the U.S. that they were amazed how they were consistently able to tune in to some radio station (not internet but in their car) that played their favorite music (which in the case of those people is older music off the beaten paths of pop charts, ranging from older styles of jazz to pre-1960s R&B, country or rockabilly, i.e. not some typical oldies/nostalgia Top 40 either). Who ARE these radio stations airing their sounds to?

That is not the case all over the U.S. The majority of that kind of programming occurs on not-for-profit, very small community radio stations, which barely exist on a shoestring thanks to listener contributions and volunteer DJs, or not-for-profit college radio stations, or not-for-profit public radio stations. In large metro areas and college towns, you may come across this type of programming. In parts of the U.S., you would not get much or any of it.

[Scott Dolan]

That is not the case all over the U.S. The majority of that kind of programming occurs on not-for-profit, very small community radio stations, which barely exist on a shoestring thanks to listener contributions and volunteer DJs, or not-for-profit college radio stations, or not-for-profit public radio stations. In large metro areas and college towns, you may come across this type of programming. In parts of the U.S., you would not get much or any of it.

Parts = most.

[Chuck Nessa]

Move on folks, nothing to see here, just move on.

[jlhoots]

Move on folks, nothing to see here, just move on.

Thumbs up!