20 November 2020: Black Jazz Records and more

This week Cosmic Jazz has a special feature on the Black Jazz Records label,  but there is also an opportunity for more music, including our celebration of the patron saint of music and musicians – St Cecilia – whose feast day is 22 November.

Keith Jarrett – Prayer from Death and the Flower

We began the show with the music of Keith Jarrett who announced recently that, as the result of two strokes in 2018, he has lost the motor skills in his left hand and is unlikely to record more music. Last week we celebrated his music through the famed Standards Trio with Gary Peacock on bass and Jack de Johnette on drums with a track from the awesome box set of recordings from the Blue Note Club in New York. This weeks we dip into the recordings of Jarrett’s American Quartet with a track from the 1974 album Death and the Flower on the Impulse! label. This record is one of Neil’s favourite from this period, and one he bought from the much loved Sunshine Records in Little Clarendon Street, Oxford – also regularly visited by Coldcut and Ninja Tune founder Jon More at around the same time. Bought in the original Impulse! gatefold for £3.99 (see the advertisement below), Death and the Flower includes the side-long title track with its extended percussion and wood flute intro. The band are Jarrett on piano, Dewey Redman on saxophones and more, Charlie Haden on bass and Paul Motian on drums with the addition of Guilherme Franco on percussion. These records are well worth seeking out – the American Quartet is often overshadowed by the music of Jarrett’s European Quartet on ECM Records, but it is not to be underestimated. Look for this record and the equally good Treasure Island and Fort Yahwuh. Our choice from Death and the Flower – Prayer – is a moving, becalming and contemplative piece, played here on vinyl, a format we are now pleased to include in the show.

Keith Jarrett, Gary Peacock, Jack deJohnette – Moon and Sand from Standards Vol II

More of Jarrett’s music came in the form of our second choice, one of the many records produced by the Standards Trio and all on the ECM label. Standards I and II were recorded at the same session in New York in 1983 along with a third record – Changes –  which featured free improvisations. Our choice – Moon and Sand – is not often covered by jazz musicians, but this 1979 version by Kenny Burrell is a delight as are the versions of Blue Bossa and Stolen Moments on the same release. The Standards Trio went on to record and tour for more than 25 years, recording numerous live and studio albums, almost all of classics from the American songbook. Two live recordings – Inside Out and Always Let Me Go – are the exception as both contain wholly improvised tracks. The telepathic communication between Jarrett, Peacock and deJohnette brought new insights into many familiar tunes and whilst Jarrett has his detractors (his annoying whining can be very irritating), none of 25+ recordings are without often considerable merit. Neil’s personal favourites include Up For It (2003) and After the Fall (2018), both containing outstanding versions of the standard Autumn Leaves. The trio disbanded in 2014 after more than 30 years of playing together – an outstanding achievement. All recordings are on ECM and all are still available, many in all three formats.

Mary Lou Williams – Ode to St. Cecilie from Spiritual Jazz Vol. 11

Volume 11 is one of the latest in Jazzman’s ongoing spiritual jazz collections with a focus on music from the Danish SteepleChase label, the Copenhagen-based imprint that has recorded and released music from some of the greatest jazz musicians from the US and Europe, including many who were living in Europe at the time. These expat musicians were responsible for some classic free jazz recordings from the recently-closed Cafe Montmartre including Albert Ayler’s Ghosts and Abdullah Ibrahim’s Scenes from an African Village. Our choice was under-rated pianist Mary Lou Williams who on this track is accompanied by Buster Williams on bass and Mickey Roker on drums. Williams’ conversion to Catholicism in 1954 dramatically influenced many of her subsequent recordings, including this Ode to St. Cecile from the Free Spirits album of 1975. If you’re looking for something different try the extraordinary Black Christ of the Andes album. Here’s the backstory…

In 1962, the Catholic Church canonised a new saint: a Peruvian brother of the Dominican Order named Martin de Porres, the son of a freed slave and Spanish gentleman who refused to recognise him because he was born with his mother’s dark features. Today, St. Martin de Porres is the patron saint of those who seek racial harmony. His story and canonisation was inspiring to Williams and she began composing new material in that year, with the first performance of Black Christ of the Andes taking place in New York in November 1962. “Mary Lou Williams is perpetually contemporary,” Duke Ellington once said. “She is like soul on soul.” The sound of this unique record – which draws on blues, gospel and jazz – can certainly be described as soulful – it truly is music that comes from enslaved black people and their descendants. Listen to an instrumental taste of the album with Miss D. D. right here.

Up next was Chicagoan percussionist Kahil El’Zabar who has been rather prolific with releases over the last year. We’ve featured two albums from him in recent months on Cosmic Jazz and now up comes a third, the (ironically) titled America the Beautiful. It’s a relatively large ensemble joining the percussionist this time with Corey Wilkes on trumpet and the late Hamiet Bluiett on baritone saxophone. There are two versions of the title tune, Charles Wright’s Express Yourself and a twist on Afro Blue called Sketches of an Afro Blue but we featured Jump and Shout (For Those Now Gone). There’s no doubt about the focus for this music – “Now’s the time for us to collectively invoke a confluence of trust and imagination that will enlighten a future path towards ethical humanity,” El’Zabar writes in the album’s statement of purpose.  The album is on the new UK Spiritmuse label and, as so often these days, you really should give yourself a treat and get it on vinyl – beautifully produced and a joy to look at too with great cover art from Nep Sidhu.

A piece of essential information for any serous jazz lovers (and certainly anyone who loves the music we play on Cosmic Jazz) is that from August 2020 the Real Gone Music record label from  announced a programme to reissue the catalogue  from the Black Jazz Record label on remastered vinyl with some select CD releases too. The label was started in 1969 in Oakland, California by pianist Gene Russell – one of whose tunes starts the sequence on this week’s show – along with percussionist Dick Schory. Black Jazz had an explicit intention – to promote the talents of young African American jazz musicians and singers – and released twenty albums between 1971 and 1975. Some of the more notable artists to record for Black Jazz Records were Cleveland Eaton, former bassist for Count Basie and Ramsey Lewis and organist/pianist Doug Carn, whose four albums were the most successful for the label.  Singer Kellee Patterson gained notoriety as the first black Miss Indiana in 1971, before recording her debut album, Maiden Voyage in 1973. With co-owner Dick Schory’s knowledge of state-of-the-art stereo recording techniques, Black Jazz strove for the kind of audiophile status that most 1970s indie labels could barely even dream of and, from 1972 to the label’s end in 1975, each album was issued with a surround-sound Quadraphonic version.

If you’re not aware of the music on Black Jazz, this is your opportunity to discover the many treasures on the label. Original pressings can be expensive and so this Real Gone initiative is a welcome development in this new vinyl era. We featured five tunes from the label, beginning with Gene Russell’s My Favorite Things.

Gene Russell – My Favorite Things from Talk to My Lady

Talk to My Lady is classic mid-period Black Jazz, with some original compositions and three covers – Stevie Wonder’s You Are the Sunshine of My Life, Gamble and Huff’s Me and Mrs Jones and the Rogers and Hammerstein classic My Favorite Things. The band included Ngudu (Leon Chancler) on drums who would go on to record with George Benson, Weather Report and Michael Jackson. Russell transforms My Favorite Things with his innovative Fender Rhodes and Henry Franklin is great on acoustic bass – CJ jazz fact: it’s Franklin who played on Hugh Masekela’s hit Grazing in the Grass! Russell’s death at just 48 in 1981 left the Black Jazz catalogue in limbo, but hip hop sampling and championing by DJs like Gilles Peterson and Theo Parrish ensured continued awareness of the label. Indeed, through the Japanese Snow Dog label, both Peterson and Parrish reissued their own Black Jazz compilations in 2012 and 2013 respectively.

Doug Carn – Chant from Adam’s Apple 

The selection from keyboard player Doug Carn was released in 1975 and was his fourth and final record for the label. Sharing Carn’s approach was a group which included saxophonist Ronnie Laws, who had worked with Earth, Wind and Fire before that band’s big commercial breakthrough. Of the others, guitarists Nathan Page and Calvin Keys had both performed with organist Jimmy Smith. Carn frequently added lyrics to established jazz classics and on this album he gives this treatment to the Wayne Shorter tune Sanctuary. There is also a version of Earth, Wind and Fire’s Mighty Mighty (We are people of the sun), Carn – who had also  played with EWF for a short time, has done keyboard duties with the likes of Nat Adderley, Shirley Horn and Lou Donaldson, as well as his then wife Jean Carne [sic] with whom  the music took in elements of soul. In 2015 he released the album My Spirit, a live recording of tunes from his Black Jazz albums.

Calvin Keys – Aunt Lovey from Proceed with Caution 

Guitarist Calvin Keys is another Black Jazz artist who is still around. He was born in Nebraska in 1942  but moved to San Francisco and became part of the jazz community there. He was also an educator and has taught at the Oakland Public Conservatory, as well as giving private lessons and mentoring young musicians. Again, there is an impressive list of musicians that he has worked with – Joe Henderson, Ray Charles, Ahmad Jamal, Bobby Hutcherson and Pharaoh Sanders. On this album he’s joined by pianist Kirk Lightsey and trombonist Oscar Brashear.

Walter Bishop Jr.’s 4th Cycle – N’dugu’s Prayer from Keeper of my Soul 

Pianist Walter Bishop Jr. is probably best known for his Muse label records from the 1970s, particularly the excellent Soul Village – a record we have featured a number of times on Cosmic Jazz and which includes a longer take on Soul Turnaround, which had appeared on Coral Keys, his first recording for Black Jazz. In his teens growing up in New York Bishop knew Sonny Rollins and Art Taylor – good friends to have around! On this session from 1973 Ronnie Laws appears on both sax and flute (and, yes, Ronnie Laws is the younger brother of CTI flautist Hubert Laws).  Gene Russell produced and the album also includes a take on Kenny Dorham’s Blue Bossa.

The Awakening – The Ultimate Frontier from Mirage

The Awakening were a six piece Chicago-based ensemble that included AACM alumni Reggie Willis on bass and Ari Brown on flute and tenor sax. Perhaps uniquely for groups broadly described as playing spiritual jazz, The Awakening were able to deliver Art Ensemble frenzy (as on the superb Jupiter) alongside the mellow funk of Brand New Feeling. Led by pianist Ken Chaney, who was writing music for Chicago soul-jazz stars Young-Holt Unlimited in the 1960s (you can hear him on their million-selling 1968 hit Soulful Strut), The Awakening also included trumpet player Frank Gordon from Young-Holt Unlimited and guests on some tunes providing further instruments and vocals. This one has Anita Jeffries and Ben Wright on vocals. The album was released in 1973 with Gene Russell again as producer. This is an album not to miss: the music can be deeply intense and spiritual and contemplative and challenging – and like so much of the music on the Black Jazz Records label was imbued with Black consciousness and pride and very much in tune with the times and issues facing their communities. And that, of course, much makes it entirely relevant for these troubling times too…

07 November 2020: Blue Note then and now

This week’s show is the usual mixture of jazz music across different styles and different ages but with a few tunes from the classic jazz label Blue Note Records – featuring new music and classic compositions – along with a Polish and Brazilian interlude.

Renee Rosnes – I.A. Blues  from Renee Rosnes

A  recent programme on BBC 4 TV in the UK on Blue Note Records (which Derek enjoyed, although Neil was less convinced) prompted the selection of some tunes from the label, including a couple of less well known ones. The sequence started with a 1990 vinyl recording from Canadian pianist and composer Renee Rosnes. The artists involved on the album illustrate the sort of company she has kept during an illustrious career that has produced seventeen records. On this particular record you can find contributions from Branford Marsalis, Wayne Shorter, Herbie Hancock and Ron Carter among others. She has also worked with Jack deJohnette and younger musicians such as Christian McBride, Chris Potter and Nicholas Payton.

Artemis – Step Forward from Artemis 

Stepping forward to 2020 and Renee Rosnes appears on Blue Note again, but this time with a new band she leads as producer, pianist – and composer – on one of the nine tunes. The septet Artemis is something of an all star band with Ingrid Jensen on trumpet, Melissa Aldana on tenor sax, Anat Cohen on clarinet, Norika Ueda on bass, Allison Miller on drums and Cecile McLorin Salvant on vocals.  Members of the band have contributed compositions but there are versions of the works of other composers, including a take on The Sidewinder by Lee Morgan and Lennon and McCartney’s Fool on the Hill. Incidentally, Renee Rosnes is third from the left on this album sleeve – check out the interview with band members and Blue Note CEO Don Was right here.

Lee Morgan – The Rajah from The Rajah 

Having mentioned Lee Morgan, it seemed appropriate to feature a track from Rajah – not one of his better known albums – partly because it was lost in the Blue Note vaults for many years. Recorded in 1965 and only released in 1984  on mono vinyl, I found a copy in a long gone second-hand record shop in Norwich which actually specialised in classical music. I did not know the record, but had the inclination that it was probably worth the £5 price tag – a view supported by its current £70 price tag on Discogs! I have never regretted this purchase and I really love this record.  As well as Lee Morgan on trumpet, it features Hank Mobley on tenor, Cedar Walton on piano, Paul Chambers on bass and Billy Higgins on drums. Rudy Van Gelder was engineer and Alfred Lion session producer – simply classic Blue Note. The title tune we featured is actually the only Lee Morgan composition on the album – other tracks are by Cal Massey, Duke Pearson alongside a more surprising choice of the pop tunes What Now My Love and Once in A Lifetime. If you don’t have this rarity, the good news is that the The Rajah is going to be available on vinyl once more through the superb Blue Note Tone Poet series in January 2021.

Wayne Shorter – Night Dreamer from Night Dreamer 

The Blue Note TV documentary included interviews with Wayne Shorter and Herbie Hancock sitting alongside each other and – along with other younger musicians – they were featured playing a Wayne Shorter composition. His importance to Blue Note and to jazz and his influence on younger musicians was apparent. Pianist Robert Glasper eulogised about his work and was a key musician in the performance. The 1964 album Night Dreamer was Shorter’s fourth album for the label and features McCoy Tyner on piano, Reggie Workman on bass and Elvin Jones on drums – another classic lineup. At this time Shorter noted that his music was changing to a simpler quality – “I used to see a lot of chord changes, for instance, but now I can separate the wheat from the chaff.

Jelle van Giel – Tiffany’s Dodo from Songs for Everyone 

The Jelle Van Giel group is a septet based in Antwerp with leader and drummer Jelle Van Giel the principal composer for the group. Their 2017 album Songs For Everyone has now been followed by a new 2020 release titled The Journey. We featured Songs for Everyone on Cosmic Jazz and really liked the group’s melodic, uplifting and cheerful tunes that makes you want to take notice and which are difficult to avoid humming afterwards. Van Giel is joined by Carlo Nardozza on trumpet, Egor Doubay on tenor sax, Tom Bourgeois on alto sax, Tim Finoulst on guitar, Bram Weijters on piano and Janos Bruneel on bass. If you’re trying to find this excellent release then simply go to this page on the excellent Steve’s Jazz Sounds website that we have recommended many times on Cosmic Jazz.

Tomasz Wendt – North from Chapter B 

Tomasz Wendt is a young saxophonist from Poland, born 1990 in Gdandsk. He has already been honoured in Poland, winning first prize in 2015 at an international jazz composition competition and then being feted by the Minister of Culture and National Heritage in 2017. Chapter B is his second album – hence the rather less than imaginative title, we assume! The group has no bass or bass guitar but does include violin, and so provides innovative and original instrumentation that produce sounds full of emotion. Wendt is joined by Jan Smoczynski on keyboards, Pawel Dobrowolski on drums and Mateusz Smoczynski on violin and electronics.

Art Ensemble of Chicago – Mama Koko from We Are on the Edge

As on previous shows, Neil has contributed five more choices that we have featured previously, beginning with one from the newly reformed Art Ensemble of Chicago. So where to start with this influential group? The initial Roscoe Mitchell Sextet included Mitchell on tenor sax, trumpeter Lester Bowie, bassist Malachi Favors and the great Phillip Wilson on drums. All musicians were multi-instrumentalists and played a huge range of conventional and what they called ‘small instruments’ – from conch shells to whistles. In 1968 they decamped to Paris where they released some of their first records under the AEC banner. Film soundtrack Le Stances a Sophie was recorded at this time – here’s the famous Theme de Yoyo with vocals by Fontella Bass. On returning to the US in 1972 the AEC recorded more than 20 albums through to 2004 – really their period of peak creativity. Their2019 release We Are On the Edge is very much a 50 year celebration of the Art Ensemble of Chicago – and yet it doesn’t really sound like a typical AEoC record. It’s a 2CD set of studio recordings and live performances, with an extended lineup beyond the two surviving members of the group, Roscoe Mitchell and Famoumdou Don Moye. Rapper and vocalist Camae ‘Moor Mother’ Ayewa is bought on for a couple of tracks (including our selection, the reflective Mama Koko) and elsewhere there are contributions from flautist Nicole Mitchell, cellist Tomeka Reid and new bassist Jaribu Shahid. Mama Koko has plenty of cultural and historical references with percussive West African sounds and mentions for Booker T. Washington, Marcus Garvey and the importance of the Congo heritage. We Are On the Edge may not be a typical album that will appeal immediately to AEoC fans but it’s worth a listen.

Tony Allen – The Drum Thunder Suite from Tribute to Art Blakey EP

Afrobeat legend Tony Allen was – according to Brian Eno – perhaps the greatest drummer who has ever lived, and the Blue Note 2017 EP was a tribute to another master kitman, Art Blakey. The album gives a new twist to some familiar Blakey tunes and was recorded live in what was then Allen’s  hometown of Paris. The record was available on a 10in EP and featured a fiery 7-piece band interpreting the Jazz Messengers classics Moanin’, A Night In Tunisia, Politely and The Drum Thunder Suite through Allen’s Afrobeat prism. The EP was produced by Vincent Taurelle, whose production credits also include Allen’s previous album Film of Life. Allen’s sound remained unique with his distinctive drum patterns appearing immediately on The Drum Thunder Suite and his Parisian group sustain the music through some some interesting soloing from Daniel Zimmerman on trombone, Nicolas Giraud on trumpet and Yann Jankielewicz on tenor sax.

Milton Nascimento and Belmondo – Nada Sera Como Antes from Belmondo & Milton Nascimento

Nada Sera Como Antes (Nothing Remains the Same/Nothing Will Be as It Was) is one of the many stand out tracks on one of Neil’s favourite albums – Nascimento’s essential Clube da Esquina album, but we feature it here through a surprising collaboration between French trumpeter Stephane Belmondo. Many have recorded this track (which owes much to several Brazilian songwriters’ love for the aforementioned Lennon and McCartney) but this version is a sensitive interpretation that sits comfortably alongside the best. Fancy other versions of Nada Sera Como Antes? Try this one from Elis Regina, this from impassioned vocalist Mark Murphy and an  another from Nascimento’s debut US release, the Milton album which features soprano sax from Wayne Shorter and piano from Herbie Hancock – “holding a teardrop of sun in the mouth of the night.”

Gato Barbieri – Bahia from Fenix

Sticking with the Brazilian theme, here’s fiery tenor saxophonist Gato Barbieri and his version of the Brazilian standard Bahia. On the Flying Dutchman label, Fenix is one of Barbieri’s best albums with outstanding performances from an all star line up of Lonnie Liston Smith, Ron Carter, Lennie White and Nana Vasconcelos on berimbau. It’s well worth exploring – there are plenty of examples on Discogs on vinyl and CD.  If the tune is familiar, you may have come across it through John Coltrane’s version on the album of the same name. Bahia is something of an underrated record, partly because it was assembled by Prestige Records long after it was recorded: the music comes from 1957-58 but was not released until 1965 and the group is ‘trane’s quartet of the time –  pianist Red Garland, bassist Paul Chambers and drummer Art Taylor on most tracks – another superb line up!

Keith Jarrett – Bop Be from At the Blue Note, June 4th 1994

Celebrated pianist Keith Jarrett has recently revealed that he may never play professionally again: following two strokes in 2018, he has lost the motor skills in his left hand and is unlikely to record more music. In a dazzling career that has seen him embrace the electric phase of Miles Davis, lead both a European and an American quartet, record a number of classical and solo piano albums and – perhaps most notably – lead the Standards Trio with the late Gary Peacock and Jack de Johnette, Jarrett has become one of the jazz world’s most famous figures. Neil has followed his career ever since buying the vinyl box set of his Bremen/Lausanne concerts in 1974 in the Fnac store in Zurich, Switzerland (in the days when you could listen to a whole record in a private booth!) and amassed most of his recordings, including this stand out six CD set of three nights recorded at the Blue Note Club in New York. The interplay among the trio is consistently outstanding and Jarrett does little of the ‘vocalising’ that many find irritating. Not only is the music consistently outstanding, the recording quality is – even by ECM’s exalted standards – excellent. If the six CD set is a daunting purchase, then the single disc version includes both this track and a long take on Autumn Leaves that has one of Jarrett’s best improvised vamps on record.

Binker GoldingSkinned Alive, Tasting Blood, from Abstractions of Reality Past & Incredible Feathers 

We were delighted to see that London based and born saxophonist Binker Golding won the Jazz FM 2020 Instrumentalist of the Year award. He has played with several Cosmic Jazz regulars such as Sarah Tandy, Maisha, Moses Boyd and Zara McFarlane. His 2019 album (see the long title above) was a bit of a surprise though. It’s more restrained, melodic and harmonic than much of his previous work (certainly more so than when I saw him play with Moses Boyd in the Moses and Boyd duo) and sounds in places remarkably like a Blue Note session. The musicians on the album include some of the finest young players in London – Joe Armon-Jones on piano, Daniel Casimir on double bass and Sam Jones on drums – and they form a tight quartet that amply demonstrates their jazz chops. Of the many recordings now available from the new crop of UK jazz players, this is one album to really recommend.

Shirley Scott – What Makes Harold Sing from One For Me

We ended this week’s show with the Harold in the question here being tenor saxophonist Harold Vick. The tune was composed by Hammond B3 organist Shirley Scott who along with Vick and drummer Billy Higgins formed Scott’s trio on a record released originally by the essential Strata East label in 1974. It has now been re-released by Gilles Peterson’s Arc Records with a new cover photo  by the Blue Note classic photographer Francis Wolff. Indeed, this could easily be a classic soul jazz Blue Note release from the mid 1960s. Scott recorded 40 albums and should be as well known as her then husband Stanley Turrentine on whose Blue Note records she often featured. Best heard on vinyl – of course! – this was a great soulful end to the show.

20 October 2020: celebrating Pharaoh Sanders and re-visiting recent selections

This week Cosmic Jazz re-visited some of the best tunes we have played since we resumed our realtime shows a few weeks ago. In addition, there’s been the significant birthday of a very important jazz artist that we simply must acknowledge.

Emma-Jean Thackray – Um  from Um Yang 

More music from one of the many younger generation artists in the UK. This EP was recorded live and cut direct-to-disc – it sounds great. Emma-Jean Thackray is a multi-instrumentalist and composer and here she has assembled a group of musicians, including Soweto Kinch, in  a studio in Haarlem in the Netherlands to produce music that sounds, free, spontaneous and exciting.

I do, however, have some problems. This record is described as an album but it contains one track of 10.19mins on one side and one track of 8.30mins  on the other. The download price on Bandcamp is £5 but the vinyl is £15. It’s not good value for money, but perhaps worse is the nature of the packaging: two inner sleeves with one plastic and one card featuring photos of the musicians and then another insert with more photos of the artists. I found the same issue with British group Nerija who released a double vinyl album, with music on only three sides! What a waste of vinyl plastic, (itself not an eco-friendly commodity), never mind the short changing in terms of the music. In today’s more environmentally friendly environment, perhaps artists could reduce prices by looking at the level of packaging they support. Personally, I’d rather pay less, get more music for the money and save on those valuable finite resources! Your views?

Artemis – If It’s Magic from Artemis 

Artemis are a jazz supergroup of musicians that have worked solo and come together under the musical direction of pianist Renee Rosnes. They come from the US, Canada, France, Chile, Israel and Japan and include clarinetist Anat Cohen, tenor saxophonist Melissa Aldana, trumpeter Ingrid Jensen, bassist Noriko Ueda and drummer Allison Miller. Two of the tracks on their self titled Blue Note album – including our choice for this week – have vocals provided by Cecile McLorin Salvant.  If It’s Magic is, of course, a Stevie Wonder composition from Songs in the Key of Life, and features harp from Dorothy Ashby – here she is on her own Rubaiyat of Dorothy Ashby album with The Moving Finger.

Pharoah Sanders – You’ve Got to Have Freedom from Journey to the One

Pharoah Sanders celebrated his 80th birthday earlier this month (13 October) and he’s still performing – check out his performance here in the UK at London’s Jazz Cafe in 2011. We’ve chosen two tracks to represent this iconic performer who has attracted the love and respect of jazz lovers across generations. Farrell Sanders was born in Little Rock, Arkansas in 1940 and first performed in New York, where he came to the attention of Sun Ra who encouraged him to use the name ‘Pharoah.’ Sanders first recorded with John Coltrane on the Ascension album in 1965 and then got his own Impulse! label contract and recorded a string of great releases, beginning with Tauhid (1967) and ending with Elevation in 1974. All of these records are recommended with the early Karma (1969) and the later Black Unity and Thembi (1971) perhaps the best places to start – but don’t forget the later albums too, many of them on the Theresa label. Throughout, Sanders’ tenor saxophone playing is unique with his overblowing, harmonics and ‘sheets of sound’ techniques well to the fore on most tracks but he’s also one of the foremost interpreters of Coltrane’s ballads – have a listen to After the Rain on the 1979 outing Journey to the One, Derek’s personal favourite Pharoah Sanders record. Here on the show we played the anthemic You’ve Got to Have Freedom from this superb album, recorded in San Francisco and released on the Theresa label in 1979.  Eddie Henderson is on flugelhorn with John Hicks and Joe Bonner on piano and keyboards and all tunes exude a warmth and wholeness which, rather ironically, Derek finds perfect for winter days in the UK. Our congratulations to jazz master Pharaoh Sanders – long may he continue to record and perform live.

Pharaoh Sanders – Thembi from Thembi 

Many of Sanders’ Impulse! albums experiment with a wide range of percussion and non-Western instruments and include the eastern modalities that were the basis for the spiritual sounds that have influenced many of the current crop of UK musicians, including Matthew Halsall and Nat Birchall.  Thembi explored shorter tracks, introduced the violin of Michael White into the group and included Lonnie Liston Smith’s Fender Rhodes for the first time on the opening track Astral Traveling. Over the six tracks on the album, Sanders explores a huge variety of instruments, including tenor, soprano, alto flute, fifes, the African balafon, assorted small percussion, and even a cow horn. There’s much less of his trademark tenor screaming, limited mostly to the thunderous cacophony of Red, Black & Green and some parts of Morning Prayer. Astral Traveling is a shimmering, pastoral piece, Love is an intense, five-minute bass solo by Cecil McBee and Morning Prayer and Bailophone Dance (which are segued together) add an expanded percussion section devoted exclusively to African instruments. We chose the title track to represent this transitional record – and would recommend it if you’re new to Pharoah Sanders. You can still find a few vinyl copies of the original Impulse! record with its gatefold sleeve but at a high price – better to go for a Verve reissue from 2018 for around €30.

The music that follows are selections that we have played already on the show but are so good they deserve a second playing. The first five tunes are all selections chosen by Neil from his base in Singapore. Most are recent vinyl purchases from the excellent Bandcamp site – always worth exploring for music both old and new.

Buddy Terry – Kamili from Awareness 

This was recorded in 1971  on the Mainstream label. Sax and flute player Buddy Terry was joined by Cecil Bridgewater on trumpet, Stanley Cowell on piano, Buster Williams on bass and Mtume on congas. The tune blended perfectly with the Pharaoh Sanders tune that preceded it. You can hear Mtume’s own take on Kamili here from the superb album led by the late Jimmy Heath called Kawaida – highly recommended too. Mtume was a convert to the black consciousness Kawaida faith and the term umoja (unity) provided the name of his Umoja Ensemble who released the celebrated Alkebu-Lan – Land Of The Blacks (Live At The East) album on Strata East Records. This is the track Utama – track down the album if you can. The violinist is the great Leroy Jenkins and that surging piano is by Stanley Cowell.

Kahil El’Zabar feat. David Murray – Trane in Mind from Spirit Groove 

Up next was Chicagoan percussionist Kahil El’Zabar on another new album that features El’Zabar’s contemporary, tenor saxophonist David Murray, ably supported by Justin Dillard with some brilliant piano that’s perhaps the standout feature of this tune. The new Spirit Groove band features El’Zabar with Murray, young bassist Emma Dayhuff and Dillard on synth, organ and piano. El’Zabar takes up kalimba, drum kit, congas, shakers, vibes and even has a go at singing on this predominantly spiritual jazz release. Spirit Groove is actually on a new UK label, Spiritmuse and on vinyl is beautifully produced. As always, your best source for this record is the Bandcamp website: you can find Spirit Groove here in all formats and download.

Resolution 88 – Runout Groove from Revolutions

The next three tracks all featured British artists.  Resolution 88 certainly owe a huge debt to Herbie Hancock circa 1974 (the Thrust album era) but their music really is something special. On Revolutions they even manage to work in an effective concept about vinyl records. Originally from Cambridge and led by keys player Tom O’Grady, the band can create tunes that have the staying power of Hancock’s Palm Grease and Actual ProofRunout Groove is one of these, with a wickedly infectious bassline worthy of anything by Hancock’s then electric bass player Paul Jackson. In addition to O’Grady the band includes Rick Elsworth on drums, Alex Hitchcock on sax, bass clarinet and flute, Tiago Coimbra on bass and Oli Blake on percussion, samples and all effects. If Herbie Hancock is your baseline (pun intended) for this kind of jazz funk then you owe Resolution 88 a visit – and to ensure that the musicians themselves get a decent return on your purchase, head to the band’s Bandcamp site here.

Jas Kayser – Fela’s Words from Unforced Rhythm of Grace EP 

Jas Kayser is a young British drummer. There is only music out on EP at the moment but the respect she is receiving is apparent in that she has played with the likes of Terri Lyne Carrington and Danilo Perez. The Unforced Rhythm of Grace EP was released in June 2020 and signals the arrival of a UK talent that we will undoubtedly hear more from. With reference to recent black activism and anti-racist demonstrations, Kayser acknowledges the power of using the “psychology of dancing and drums to shake the minds of people” – perhaps a reflection of Albert Ayler’s view that “music is the healing force of the universe”.

Nubya Garcia – Pace from Source 

This is a tough tune from the recently released album Source. There is sustained  quality sax playing from Nubya Garcia and a heavy and powerful drum sound. The production on this album is very much a step up from Garcia’s first EPs: recorded with producer Kwes, whose credits include Solange and Bobby Womack, Garcia is pushed into new territory that really demonstrates her diversity.  It all remains firmly rooted in jazz but there’s a range of other influences here too – from the afore-mentioned dub to cumbia and Ethio-jazz. It all works and this new album is highly recommended.

Dayme Arocena – African Sunshine from One Takes

Cuban vocalist, instrumentalist and composer Dayme Arocena has been one of the artists whose work I have been re-discovering in recent weeks. It took her appearance as a performer and guide to Havana on a BBC 4 TV programme to prompt this. The vocals are great, the instrumental playing is strong and whatever she performs is imbued with the feel and sounds of the roots and heritage of Cuba. The Eric Gale tune African Sunshine provides a fine testament to her vocal powers and to the skills of the musicians she works with as well as to the heritage. It’s an interesting choice – here’s Gale’s original for comparison.

The Hermes Experiment – The Linden Tree from Here We Are 

This is a group that might not expect to find their music played on a jazz related programme. In fact, they are a group of young classical musicians comprising, harp, clarinet, soprano vocals and double bass. The album features their interpretations of contemporary classical pieces but has one tune, composed by Misha Mullov-Abbado, son of the classical conductor, that is distinctly jazzy. The Linden Tree has a sad, anti-war message but is delivered superbly in sounds that cross the divides between jazz, folk and classical music. The improvisatory clarinet of Oliver Pashley contrasts with Heloise Werner’s classical soprano voice singing the words of the traditional English folk song to Mullov-Abbado new tune . The rest of the album is definitely ‘contemporary classical’ with selections from Anna Meredith, Errolyn Wallen and others. I love this record and we highly recommend what could be, for some jazz lovers, a venture into newish territory.

O.N.E. Quintet – As Close as Light from ONE

We like to provide a hearing for young musicians on Cosmic Jazz and another example has been the Polish group ONE. Thanks to the many treasures to be found at Steve’s Jazz Sounds we have been able to feature a selection of the excellent and continuous supply of jazz coming out of Poland. An example of this has been the band O.N.E. and their album ONE. The tunes are compositions by pianist Paulina Almanska and sax player Monica Muc. They have a collective sound but also provide space for all members of the quintet to feature as soloists. Their music grows on me more and more every time I hear it and like The Hermes Experiment tune has elements not only of jazz but also folk and classical.  As Close As Light was written by Almanska who features on the tune but – as with the best jazz – there’s plenty of space for the other musicians in the group.

New Bone – Longing from Longing

Another Polish quintet led by trumpeter/composer Tomasz Kudak and including pianist Dominik Wania who has had a solo album released recently on ECM Records. This is the sixth New Bone album and their music has tended to veer towards the traditional/mainstream but we think the quintet has moved twards a more adventurous approach with the arrival of Wania, who has taken the music into a rather different dimension. Able to add both imaginative accompaniments and dramatic solos, Wania has really changed the sound of this long running group. Kudak’s trumpet recalls another great Polish player, the late Tomasz Stanko. Listen to this live version of the wonderful Little Thing Jesus here.

Ambrose Akinmusire – Roy from on the tender spot of every calloused moment 

The programme ends with one trumpeter Ambrose Akinmusire paying  tribute to another inspirational trumpeter, the late Roy Hargrove. It is a wonderful piece of moving, powerful and meaningful music – such a fitting tribute. Hargrove was a musician who influenced and played an important part in the lives of many of the prominent younger musicians playing today – and fellow trumpeter Ambrose Akinmusire is one of them. He’s as eclectic as Hargrove was in the range of musical styles he explores – from M Base sounds with Steve Coleman to an appearance on Mortal Man, the final track of Kendrick Lamar’s influential rap album To Pimp a Butterfly. More CJ music soon.

08 October 2020: more global jazz – including vinyl at last!

The show this week is the usual mix of jazz and jazz-related music from across Europe to the US  and Cuba. To listen on Mixcloud just press ‘play’ below.

1. Lettuce – Blaze from Resonate

Last time the show ended with Lettuce, the collective of fine musicians from Boston, and this week we start the show with the band.  It was a good and powerful way to begin too. Lettuce are not easy to categorise: there is definitely jazz in there but there is also funk, soul and more. They started life in 1994, reconvened as undergrads at Berklee and attempted to play at various Boston jazz clubs where they would walk in and ask the club owners and other musicians if they would “let us play” – yes, that’s their story… Certainly, Lettuce sound like musicians who are enjoying themselves, know what they are doing and make forthright statement through their music. Their skills are evident from the list of top-notch hip-hop, r’n’b, soul and pop artists – the ones who can afford the very best – that have employed members of Lettuce to perform with them – drummer and leader Adam Deitch has worked with John Scofield, Ledisi, 50 Cent, the Average White Band, Talib Kweli and Pharoahe Monche amongst others.

2. Chanda Rule + Sweet Emma Band – Another Man Done Gone from Hold On 

We’ve featured Chanda Rule before – a combination of a strong jazz/gospel Chicago-born vocalist backed by European jazz virtuoso musicians delving into the music of the American South. This is one of the more well-known tunes on the album but it is given a fresh interpretation and, as Chanda acknowledges this song – like most of the tunes on the album – were given “a lyrical update”. The contribution from Czech Hammond organ player Jan Korinek is prominent and fitting, but you may be surprised to hear the inclusion of tabla, courtesy of guest Avirbhav Verma. It’s an effective combination from an album that rewards repeated listening. Appropriately in Black History Month here in the UK, the album “reaches back into some emotional roots to serve up a set of civil rights jazz vocals that remains defiant and powerful as well as being solidly appropriate for the times” [Chris Spector: Midwest Record].

3. Marek Jakubowski Quartet – Black from Colors

4. Marek Jakubowski Quartet – Rusty from Colors

We next featured two doses of Poland in colour. Marek Jakubowski is a drummer and composer leading a quartet on their third album. It’s called Colors and not surprisingly each track is named by a colour. To get a sense of the colour and musical range two of them were chosen – Black and Rusty. The former is a warm, melodic tune while the latter is a short piece. The album has strong compositions and offers space for solos, particularly from Marek Konarski on rasping sax and Jacob Szwaj on lyrical piano. Damian Kosta on bass completes the quartet. Check out the video for Red here and – as always – head to Steve’s Jazz Sounds for more great Polish and European jazz.

5. Wojciech Staroniewicz – Walk Spirit Talk Spirit from A’ Freak-An Project (Live in Gdansk)

The tune may be familiar (a McCoy Tyner composition we’ve highlighted on the show previously) but this take is from Wojciech Staronoiewicz, Polish leader of an octet and maybe rather less familiar. Just as the Tyner original is best known from the stunning live version (recorded at the Montreux Jazz Festival in 1973) so the Staroniewicz version is also a live recording. This track is an addition to the tunes on this 2019 live album, all of which can also be heard on the A’Freak-An studio recording. The band has an interesting composition: Staroniewicz is one of the sax players in a saxophone quartet and for this live performance and recording session his usual band had an extended rhythm section, including Larry Okey Ugwu on percussion. The result – an invocation of the spirit of African music perhaps suggested in the title of the project. The band certainly produces a big sound and they do justice Tyner’s powerful original. It’s a telling reminder of the power of live jazz.

6. Patrice Rushen – Jubilation from Before the Dawn

I need little excuse to play Patrice Rushen – jazz piano and keyboard player (and one time chart star – remember Forget Me Nots?) . On learning that it was her birthday recently there seemed to be an additional impetus and how appropriate to have a tune entitled Jubilation. Rushen has an interesting musical resume: she was classically trained and gave her first recital aged six; she has composed symphonies; is involved in musical education in universities and still plays superb jazz with  with the likes of Marcus Miller. On this tune her band includes Hubert Laws on flute, Lee Ritenour on guitar and Harvey Mason on drums – session superstars all. The album was recorded on jazz label Prestige who usefully coupled together Before the Dawn (1974) and Prelusion (1975) onto a 2CD set in 1998. Both albums will repay your listening – check them out.

7. Eric Dolphy – Hat and Beard from Out to Lunch!

This was a joyous moment for Cosmic Jazz. For the first time in a long while there was vinyl played on the show. It has been a long time coming but what a way to start. Recorded in 1964, Out to Lunch! is regarded by many as Eric Dolphy’s finest work. It was to be his final recording and his only album on Blue Note as leader. With Rudy Van Gelder at the helm, the sound is excellent and the Reid Miles cover is one of the most famous in all jazz. Best seen and heard on vinyl, this is one record every jazz lover should own.  n full size on vinyl. On this tune, dedicated to Thelonious Monk, Dolphy is on bass clarinet with Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass and the just-18 year old Tony Williams on drums. What a line up. As with Ornette Coleman, for some listeners, Dolphy may be an acquired taste but what he does on all of the tunes on this record is spellbinding. A few months after recording this album, Dolphy went on a European tour with the Charles Mingus Sextet and this full length video recording of the tour gives an indication of both his power and originality. The writer Ted Gioia hears Dolphy’s angular melodic lines “zigzagging from interval to interval, taking hairpin turns at unexpected junctures, making dramatic leaps from the lower to the upper register” and that’s what you’ll find on both Out to Lunch! and the linked European tour video.  If you’re looking for the best recording and an original Blue Note pressing is out of reach (at US $1500 it probably will be!) then you should check out some of the better reissues. The two Kevin Gray remastered Music Matters versions (33rpm and 45 rpm) will be hard to find except through Discogs or Ebay as they are now out of stock, but there’s 500 or so other copies waiting for you here on Discogs alone! You’ll get a taste of what the MM versions sound like on this 45rpm two disc Music Matters remastering of Hat and Beard.  Even if you’re listening on your laptop you’ll hear that Rudy van Gelder studio clarity. If you have one, plug in a DAC and some headphones – you won’t be disappointed! Bobby Hutcherson’s vibes have never had more attack and Tony Williams’ drumming is a revelation.

8. Jas Kayser – Fela’s Words from Unforced Rhythm of Grace

We start Neil’s selection of five tunes with young UK drummer Jas Kayser. After attended a Berklee College summer school, Kayser found herself with a postgraduate full scholarship and mentoring from  superstar jazz drummer Terri Lynne Carrington. The result has been a sharply inclined profile in the UK jazz community and beyond. Kayser began learning drums and piano aged nine, gravitating towards after experiencing Herbie Hancock’s Headhunters album (with its stunning drumming from Mike Clark). It was while at Berklee that she was introduced to Fela Kuti and master drummer Tony Allen (see our Cosmic Jazz feature here). The Unforced Rhythm of Grace EP was released in June 2020 and signals the arrival of a UK talent that we will undoubtedly hear more from. With reference to recent black activism and anti-racist demonstrations, Kayser acknowledges the power of using the “psychology of dancing and drums to shake the minds of people” – perhaps a reflection of Albert Ayler’s view that “music is the healing force of the universe”.

9. Maleem Mahmoud Ghania with Pharaoh Sanders – Moussa Berkiyo/Koubaliy Beria La Foh from The Trance of Seven Colours

The Gnawa music tradition from Morocco traces its roots to Kano in what is now northern Nigeria and one of its principal exponents was the late Maleem Mahmoud Ghania. Mahmoud learned this craft as a youth along with his brothers, walking from village to village, performing Gnawa trance music ceremonies with his father. He was one of the few masters, or Maleem, who continued to practice the Gnawa tradition strictly for healing and purification. Mahmoud performed music from his own repertoire at many major festivals in Morocco (including for King Hassan II), playing the three stringed lute, usually called the gimbri, which is at the heart of this ancient musical tradition. Originally released in 1994 on Bill Laswell’s Axiom imprint and produced by him, The Trance of Seven Colours album is enhanced by the addition of Pharoah Sanders on tenor saxophone. Recorded live in the courtyard of a private house in the medina in Essaouira, Morocco, the album is produced without the sonic manipulation for which Laswell is noted. While most of the tunes are traditional gnawa number, two – including the elegiac ballad Peace in Essaouira dedicated to guitarist Sonny Sharrock – are Sanders originals.

10. Bill Laswell – Golden Spiral from Against Empire

More Laswell but this time from his own album, again with Pharoah Sanders in tow. Laswell has dabbled in pretty much every music genre out there – from avant-jazz, rock, dub, funk, ambient, sub-bass and thrash metal – and here he manages (most of the time) to bring some of these together in a satisfying combination. It’s all based on the five drummers and percussionists Laswell deploys, including long time collaborator Adam Rudolph. Both Sanders and Herbie Hancock (himself no stranger to the ministrations of Laswell as producer) appear alongside multi-instrumentalist Peter Apfelbaum. The results are mixed but worthy of investigation as with much of Laswell’s music, but three remix projects should be investigated – Panthalassa (Miles Davis), Divine Light (Carlos Santana and Alice Coltrane) and Dreams of Freedom (Bob Marley). In all three, Laswell is able to find new nuances of meaning that deepen our understanding of the original music.

11. Maria Rita Stumpf – Lamento Africano/Rictus (Joakim remix) from Remixes

And we take a short excursion to Brazil for this next track but this time in remixed form. Maria Rita Stumpf’s music appeared on the excellent Outro Temp compilation in 2017, sparking a renewed interest in her music. She had stopped recording and performing in 1993, but returned to both in 2018, resulting in both remix projects and a new album Inkiri Om. We have featured Stumpf’s music before in a May post on Cosmic Jazz and you can check out our comments, and the Bandcamp links to her recently rediscovered album Brasiliera, on that post right here.

12. Resolution 88 – Runout Groove from Revolutions

For this one we’re back in the UK to a band that should get more attention than they do. I first heard them on a Patrick Forge podcast and recognised that – whilst they owe a huge debt to Herbie Hancock circa 1974 (the Thrust album era) – their music really is something special. On Revolutions they even manage to work in an effective concept about vinyl records. Originally from Cambridge and led by keys player Tom O’Grady, Resolution 88 can create tunes that have the staying power of Hancock’s Palm Grease and Actual Proof. Runout Groove is one of these, with a wickedly infectious bassline worthy of anything by Paul Jackson. In addition to O’Grady the band includes Rick Elsworth on drums, Alex Hitchcock on sax, bass clarinet and flute, Tiago Coimbra on bass and Oli Blake on percussion, samples and all effects. If Herbie Hancock is your baseline (pun intended) for this kind of jazz funk then you owe Resolution 88 a visit – and to ensure that the musicians themselves get a decent return on your purchase, head to the band’s Bandcamp site here.

13. Otis Brown III – The Thought of You – Part II feat.  from The Thought of You

More Blue Note but from 2014 showing that into the 21st Century Blue Note remains an essential source of music for the times. I have played this album on the show quite often because I think it is a good example of tough, contemporary  sounding music out of New York. Otis Brown is a drummer and has drawn upon an impressive cast: Keyon Harrold, who has since released fine solo work, is on trumpet, Robert Glasper is on keyboards and production and guests on vocals include Bilal, Gretchen Parlato and Nikki Ross.The music harks back to the golden age of Blue Note and the classic jazz quintet instrumentation but musicans like Otis Brown and Robert Glasper were raised on hip hop and neo soul too. The result is that this album was very much a part of the renaissance of Blue Note and a reminder that while it continues to value the classic Blue Note albums with its superb remastering programme the new sound of Blue Note is as much Dilla as Dolphy.

14. Dayme Arocena – Madres from Nueva Era

We return to Dayme Arocena. Seeing her perform on BBC4 TV recently made me dig out her music. On the half-hour TV feature, he came across as a witty, thoughtful and insightful observer of life in Cuba and the wider world. The sight of Arocena and her band  joyously playing together in what looked like a quiet back street courtyard was inspirational. She is deeply embedded in the culture and beliefs of her island and is a proud showcase for the contemporary music of Cuba, drawing on both her Santeria faith and the world of jazz. Arocena came to the notice of western audiences following her appearance on  the first of Gilles Peterson’s Havana Cultura Projects from 2008. She’s a fine singer and composer and her appearances on these albums and her own recent releases are all worthy of investigation. If you’re new to the current range of  Cuban music then it’s worth checking out Peterson’s recent 3LP collection from his various Havana Cultura projects – of course, available here on Bandcamp – but start with this fun promo video to get you started.

26 September 2020: celebrating 60 years of Giant Steps

Welcome to the latest Cosmic Jazz. A slightly longer gap than usual between shows, but this week you can enjoy 95 minutes of great jazz. Each and every show is available here on this site – just press ‘play’ below:

This week’s Cosmic Jazz rightly pays tribute to one of the great albums of the genre, and – as Charlie Parker said – ‘Now’s the Time’. 23 September 1926 was John Coltrane’s birthday and, had he lived beyond 1967, he would have been 94 years old. But more than that, 2020 marks the 60th anniversary of Giant Steps, his seminal album for Atlantic Records. In addition, we have not played his music on the shown since we resumed broadcasts and so this week we begin with three tracks from this essential album. Check out this feature on Giant Steps from Jazzwise magazine from July 2019 and look out for the Giant Steps’ 60th anniversary releases from Rhino Records on CD, vinyl and download, including 40 minutes of outtakes and illuminating liner notes by Coltrane authority Ashley Kahn.

The  original recording in 1959 drew on several musicians and different ones appeared on the tracks we played. The pianists were Tommy Flanagan or Wynton Kelly. On drums was Jimmy Cobb or Art Taylor. The one constant was Paul Chambers on bass and the first tune on the show this week was dedicated to him. The second was for Naima, Coltrane’s then wife. The third was the title tune, Giant Steps which sums up exactly what the album was in terms of the emergence of John Coltrane as an important composer, band leader and a giant of jazz.

  1. John Coltrane – Mr. PC from Giant Steps (John Coltrane – tenor sax; Tommy Flanagan – piano;  Paul Chambers – bass; Art Taylor – drums)
  2. John Coltrane – Naima from Giant Steps (John Coltrane – tenor sax; Wynton Kelly – piano; Paul Chambers – bass; Jimmy Cobb – drums)
  3. John Coltrane – Giant Steps from Giant Steps (John Coltrane – tenor sax; Wynton Kelly – piano; Paul Chambers – bass; Art Taylor – drums)

4. Quindependence – Song For E from Circumstances

Next came one of our regular visits to Poland. To check out some of the excellent music available from this country, just head to Steve’s Jazz Sounds where you’ll find lots of great new Polish jazz. The band Quindependence are an example of a good young jazz group with their debut album Circumstances. It was first released four years ago, but has been re-released after seemingly getting lost. The tune Song for E features some nice work from trumpeter Dominik Borek, delicate piano from Michal Salamon and sympathetic support from Krzysztof Matejski on saxophones and flute, Miłosz Skwirut on bass and Paweł Nowak on drums.

5. Chojnacki/Migula – Kawa from Contemplation

This is another young Polish band led jointly by trumpeter Jan Chojnacki and pianist Filip Migula. The tune is from their debut album, which features original compositions, mainly from pianist Migula. The Polish Jazz Blogspot, a useful source of information on Polish jazz, identifies that the band are at their best playing ballads, which comprise half of the album and Steve’s Jazz Sounds call it “an absolute gem of a CD”. The tune Kawa is one of these ballads and helps to prove the point. The quartet also includes Bartlomiej Chojnacki on bass and Dawid Opalinski on drums. As the image (left) suggests, the final track on the album Trzepak has been released as a single – listen to a live studio version here.

6. Shirley Scott – Don’t |Look Back from One For Me. 

We like the Hammond B7 organ on Cosmic Jazz and it features here on Neil’s first selection of tracks on this week’s show. Shirley Scott played the instrument but is less well known than she should be and so it’s great to have her album One For Me (originally released in 1975 on Strata East) now reissued via the British imprint Arc Records, with which DJ Gilles Peterson is involved. The tune Don’t Look Back is a catchy, soulful piece with Harold Vick on tenor sax and Billy Higgins on drums. The notes in the record acknowledge the role of trumpeter Charles Tolliver, co-founder of Strata East Records “in making this reissue a reality”. It so happens, possibly not by coincidence even though it was one of Neil’s choices, that he is the next artist on the show.

7. Charles Tolliver – Blue Soul from Connect

Charles Tolliver is having something of a late career renaissance. This track comes from his new 2020 album on Gearbox Records and was recorded at RAK Studios in London with a line-up that features Jesse Davis on alto saxophone, Keith Brown on piano, Buster Williams on double bass, and Lenny White on drums. Blue Soul has all the grit and groove of a mid-1960s Blue Note hard-bop band while still sounding totally 2020.  Jazz favourite, saxophonist Binker Golding appears on a couple of tracks too.  Buy the album in any format (vinyl, CD and download) from Tolliver’s Bandcamp site here. The Gearbox recording is excellent and has the flavour of a classic Rudy van Gelder Blue Note session from the 1960 – so go for the vinyl option if you can!

8. Buddy Terry – Kamili from Awareness

Wow! The sinuous bass of Buster Williams again anchors this superb piece of 1970s jazz from saxophonist Buddy Terry. Kamili is by conga player Mtume and the band also includes Cecil Bridgewater on trumpet, Stanley Cowell on keyboards, Roland Prince on guitar and Mickey Roker on drums. You can hear Mtume’s own take on Kamili from the superb album led by the late Jimmy Heath called Kawaida. Mtume was a convert to the black consciousness Kawaida faith founded in 1966 by Maulana Karenga. The pan-African philosophy of kawaida (in Swahili this means ‘tradition’ or ‘reason’) was founded on an African value system with seven principles: umoja (unity), kujichagulia (self-determination), ujima (collective work and responsibility), ujamaa (cooperative economics), nia (purpose), kuumba (creativity), and imani (faith). The aim was that these would serve as a catalyst to motivate, intensify, and sustain the black struggle against racism. This superb album, originally issued on the Mainstream label, is available (of course!) from the Bandcamp website here.

9. Aaron Parks – Attention Earthlings from Little Big II: Dreams of a Mechanical Man

Pianist Aaron Parks came to our attention with his excellent first Blue note release called Invisible Cinema although he was a featured pianist on one of Neil’s all time favourite records, Terence Blanchard’s A Tale of God’s Will (A Requiem for Katrina) with its stunning track Levees.  With a couple of ECM albums in between, Parks is now recording for Ropeadope Records (along with CJ favourite Christian Scott aTunde Adjuah) and his 2020 release with the Little Big band, II: Dreams of a Mechanical Man, is an excellent example of Charles Mingus’s definition of creativity: “Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that’s creativity.” There’s a clarity and simplicity in this music that then begins to reveal its depth and complexity in subtle shifts. As Aaron Parks explains, “I want to cast a spell to lull you into a trance where you think you know where you’re going, and then take you somewhere unexpected, almost without realizing how you got there.” The new album continues this synthesis of jazz, electronica, and post-rock but without a sense of disparate styles. Parks features on all keyboards and voice, Greg Tuohey is superb on guitar and these two soloists are very ably supported by David Ginyard Jr. on bass and Tommy Crane on drums and percussion.

10. Jonathon Jurion – Bismillahi ‘Rrahmani ‘Rrahim from Le Temp Fou

This is an interesting one. Jurion is from the French Caribbean island of Guadeloupe although his music is not particularly closely linked to the musical traditions of the island – gwo-ka, zouk, balakadri and more. Here he focuses on the music of alto saxophonist Marion Brown, himself something of an ethnomusicologist. Brown is less well known than he should be, but he was one of the players on Coltrane’s album Ascension which featured a much expanded front line of soloists and in the same year (1964) played on Archie Shepp’s seminal Fire Music album. Brown moved to Paris in 1967 where he met and befriended German vibraphonist and sax player Gunter Hampel with whom he recorded the soundtrack for Marcel Camus’ film Le temps fou – hence the title of this collection of Marion Brown tunes. You can hear Gunter Hampel’s Galaxie Dream band on the track Sonnenschein from his Ruomi album from 1974. Brown’s loose trilogy of albums from this period that reflect his Georgia slave heritage are all worth exploring, beginning with a very early record on the ECM label, Afternoon of a Georgia Faun. The track we chose from Jurion’s tribute album comes from a later record for Impulse! called Vista (1975). It’s actually by American minimalist composer and Brian Eno collaborator Harold Budd – here’s both the Marion Brown version and Harold Budd version of Bismillahi ‘Rrahmani ‘Rrahim.  Budd plays celeste and gong on the Brown track and Brown returns the favour on the  much more expansive Budd track from his essential 1978 album, The Pavilion of Dreams.

11. Ethnic Heritage Ensemble – Little Sunflower (for Roy Hargrove) from Be Known Ancient/Future Music

Neil’s final selection this week links directly to the next tune from Derek. Both are tributes to the late (and very great) Roy Hargrove, a trumpeter who embraced many kinds of jazz over his all-to short career. Hargrove died of kidney failure at the age of just 49 after recording over twenty albums as leader and many more as a key contributor to others. Key albums to start with are The Tokyo Sessions, Habana, Directions in Music: Live at Massey Hall and the superb Earfood album which netted the glorious Strasbourg/St Denis tune – surely a future standard… Here it is in a live version from Brussels recorded in 2016 just two years before his death and with the great Sullivan Fortner on piano.

12. Ambrose Akinmusire – Roy from on the tender spot of every calloused moment 

This was the second successive tune on the show to acknowledge Roy Hargrove. He was a musician who influenced and played an important part in the lives of many of the prominent younger musicians playing today – and fellow trumpeter Ambrose Akinmusire is one of them. He’s as eclectic as Hargrove was in the range of musical styles he explores – from M Base sounds with Steve Coleman to an appearance on Mortal Man, the final track of Kendrick Lamar’s influential rap album To Pimp a Butterfly. Akinmusire’s 2020 release is called on the tender spot of every calloused moment (yes, Akinmusire has a thing about lower case typography) and the tune Roy is a short piece of highly moving, sensitive and powerful music from an excellent and important trumpeter and his band.

13. The Hermes Experiment – The Linden Tree from Here We Are

This tune may be something of a surprise. It is perhaps jazzy rather than jazz and comes from a group of young British musicians who perform essentially contemporary classical music. The album can be found on Delphian Records, an Edinburgh-based label specialising in contemporary classical.  The Hermes Experiment are an ensemble with an interesting musical set-up comprising harp, clarinet, soprano vocal and double bass. The Misha Mullov-Abbado tune The Linden Tree is a good example – the lyrics are those of the traditional English song but the melody is Mullov-Abbado’s own. He explains: “For most of the piece the instrumental trio are playing rhythmic patterns underneath a much looser and flowing rendition of the folk song melody, but I then inserted some instrument-only sections where I’ve subtly introduced more of a jazzy and swing element. In particular the harp is a very interesting instrument to write for when it comes to the jazz idiom – I tried to avoid writing essentially a piano part, and came up with some little figures more suited to the instrument.” The lyrics simply but powerfully reflect on childhood, love and the cost of war and Mullov-Abbado’s arrangement has a musical feel that crosses folk, jazz and classical. The sounds are interesting, with the improvisatory clarinet of Oliver Pashley contrasting with Heloise Werner’s classical soprano voice. The rest of the album is definitely ‘contemporary classical’ with selections from Anna Meredith, Errolyn Wallen and others. We highly recommend this album and, for some jazz lovers, it could mark a venture into newish territory.

14. Lettuce – Mr. Dynamite from Resonate

We end this week’s show with a tune from a band operating in a very different universe to the Hermes Experiment. In 2019 the Boston-based Lettuce released their album Elevate and followed this in 2020 with Resonate, in fact recorded at the same sessions. Lettuce are a band of fine musicians who have worked for many top artists in hip-hop, soul and pop but whose own music is a blend of jazz, soul, funk R’n’B, Go-Go and more. Despite its title, Mr Dynamite is rather more restrained than some other Lettuce tunes, including the Go-Go anthem Checker Wrecker, a track we have featured before on the show. Nonetheless, this is uplifting music and, as such, was a perfect way to end this varied show. On reflection, it would make an equally impressive opener for a Cosmic Jazz live set – maybe in 2021? Here’s hoping…

13 September 2020: two jazz birthdays and Analog Africa

This week’s show is a very varied one – lots of different kinds of jazz and jazz-related music from all over the world. It’s a celebration of this unique art form. We begin with two birthdays – vibes player Roy Ayers (80 years) and saxophonist Sonny Rollins (90 years).

1. Roy Ayers – Lil’s Paradise from Stoned Cold Picnic

The celebrations begins with Roy Ayers who recently celebrated his 80th birthday. He may be best known today for his jazz/soul/funk fusions but he started as a jazz player through and through. Our choice came from the 1968 Atlantic album Stoned Soul Picnic with its gathering of of jazz luminaries – Gary Bartz, Charles Tolliver, Hubert Laws, Herbie Hancock, Miroslav Vitous and Grady Tate. A close look at the album cover also shows flautist Herbie Mann (bottom left). Unusually, he didn’t play on the album but was, for this set, the producer. All three albums Ayers recorded around this time for Atlantic are worth listening to: Virgo Vibes (1967), Stoned Soul Picnic (1968) and Daddy Bug (1969). The following year, Ayers moved to Polydor and began his journey into more explicit jazz funk styles. The epic He’s Coming album from 1971 (now available on Verve) featured Harry Whitaker and Sonny Fortune, and We Live in Brooklyn, Baby remains a standout piece of music.

2. Sonny Rollins – St. Thomas from Saxophone Colossus

The second birthday celebration is from one of the giants – indeed you might say a colossus of jazz – saxophone player Sonny Rollins. The Penguin Jazz Guide described him as “the most compelling improviser in the entire history of the music”.  Recently he celebrated his 90th birthday. The tune selected was from one of his most famous albums and one of the very best from the mid-50s – an essential record for any jazz collection. Saxophone Colossus was recorded in New York in June 1956, with Tommy Flanagan on piano, Doug Watkins on bass and Max Roach on drums. The latter provides some superb, intricate playing to support the clear and distinctive sounds of Rollins on St. Thomas, a Caribbean-influenced number both in the title, with a reference to the Caribbean island and in the rhythms in the music. It’s an irresistible tune but the whole album is outstanding. Rollins’ opus is huge and it may be difficult to know where to start. We’d recommend the 1957 album Way Out West, The soundtrack to Alfie (1966), and Without a Song, Rollins’ post 9/11 recording. From Way Out West, I’m an Old Cowhand sounds magnificent – try it in this version from a Craft Recordings reissue.

3. Dayme Arocena – African Sunshine from One Takes 

The Caribbean influence remains in the next selection. Dayme Arocena is a proud Cuban – as was very apparent in a recent half hour BBC film. This saw her perform open-air with other young musicians in a courtyard in Havana as well as visiting her family and the seashore to talk about her work and the people of the island. She is impressive in what she says and in the music she performs – it’s a joyous celebration. It made me return to her music and the Eric Gale tune African Sunshine provides a fine testament to her vocal powers and to the skills of the musicians she works with as well as to the heritage. It’s an interesting choice – here’s Gale’s original for comparison.

4. KOKOROKO  – Ti-de from KOKOROKO EP

The BBC Proms this year were much shortened and it is to their credit, especially as it is predominantly a classical music festival, that in the short two-week period for live performances there was a slot for the very interesting British band KOKOROKO. Check out the performance while you can on BBC Sounds or BBC i-Player. The Albert Hall may have been empty but the performance was great. KOKOROKO are excellent young musicians with a front line of trombone, trumpet and sax (+ vocals) supported by guitar, bass, percussion and drums. The sound manages to sound both relaxed , almost gentle, yet at the same time free and expressive. There was new music played at the Prom so perhaps we can expect an album soon. In the meantime, although the vinyl EP is now sold out, you can still find the digital download of their EP here on Bandcamp.

5. Waaju – Listening Glasses from Grown 

It was now time for some more selections from Neil in Singapore.  The next four tunes are an eclectic selection that stretch well beyond the jazz boundaries. And yet… Most conventionally with clear jazz influences is new London group Waaju. Their name means in “to urge, inspire or take action” in Mali’s Bambara language. Led by drummer and percussionist Ben Brown and comprising members from across the UK’s music scene including Waaju includes percussionist Ernesto Marichales, guitarist Tal Janes, Sam Rapley on saxophones and Joe Downard on bass. Waaju are all about connections in music: as Brown has noted “The amazing thing about music is that one can display the belief, compassion and love that takes a lifetime to acquire, in just a few seconds.” It’s something we appreciate here at Cosmic Jazz and it certainly represents the different layers of musical culture we like to promote. Grown really is a major step forward in their musical development and comes highly recommended. Listen to the whole album and then buy in analog or digital formats. All are still available here on the band’s Bandcamp site.

6. Ranil y su Conjunto Tropical – Vuela a Saturno from Limited Dance Edition

We start with Samy Ben Redjeb and his Analog Africa label. Is this the best world music reissue label at the moment? Probably. For a decade now, Germany-based Samy Ben Redjeb’s seminal Analog Africa label has been unearthing musical treasures from Africa – and now he has spread the net rather wider. Inspired by a passion for crate-digging, Ben Redjeb (originally from Tunisia) became a flight attendant with Lufthansa specifically so he could travel to Lagos, Addis Ababa and Accra on a monthly basis. The result was a series of superb recordings, beautifully annotated and presented as CDs or vinyl compilations. Now he has followed a musical trail across the Atlantic and to Peru. This music is influenced by the sounds of cumbia, more usually associated with Colombia, but this time refracted through the eyes of someone who has spent time in the Amazon rainforest. Raúl Llerena Vásquez is better known simply as Ranil – a singer, bandleader, record-label entrepreneur and larger-than-life personality who “swirled the teeming buzz of the jungle, the unstoppable rhythms of Colombian dance music, and the psychedelic electricity of guitar-driven rock and roll into a knock-out, party-starting concoction”. Assembled by Ben Redjeb from original LPs sourced from Ranil himself, this compilation presents 14 tracks available in all formats from the Analog Africa Bandcamp site. The infectious sounds of Vuela a Saturno are irresistible, but any track from this excellent compilation is worth a listen.

7. Bakaka Band – Geesiyade Halgamayou from Mogadisco: Dancing Mogadishu 1972-1991

We may not have featured music from Somalia before on Cosmic Jazz so it was time to redress the balance with a track from another superlative album compiled by the excellent Analog Africa label. Founder Ben Redjeb was responsible for introducing listeners to the raw psychedelic sounds of Benin and Togo, the glorious horn sections of Ghana on Afro-Beat Airways, the mysterious sounds of landlocked Burkina Faso with Bambara Mystic Soul and now the superb sounds of music in the Somalia capital Mogadishu in the 1970s. Mogadishu has been a trading port for centuries and the result – as in all major ports around the world – was a unique musical melting pot, heavily influenced by the arrival of disco sounds from New York and beyond. Ben Redjeb’s labour of love in assembling this music, tracking down some of the original musicians and talking to those who produced this remarkable music is evident in this inspiring collection, still available on vinyl via – of course – the Analog Africa Bandcamp site.

8. Muriel Grossman – Golden Rule from Golden Rule

Neil featured the music of Muriel Grossman in a recent post on the spiritual jazz phenomenon, and so it seemed appropriate to provide some more examples. Grossman is a sax player, vocalist and composer now living in Ibiza, although born in Austria. She should have been in the UK this summer and touring other European countries but of course was unable to do so. We hope that her European tour will be able to resume in 2021. Since her first recordings in the early 2000s, Grossmann has released a dozen albums as leader, featuring sounds ranging from hard-swinging modernist jams to free improvisation, expansive spiritual work to rhythm-focused Afrocentrism, as on the recent release, Reverence. At the centre of her work is a thread of pure and heartfelt spiritual music in the modal tradition defined by Coltrane and close collaborators like Pharoah Sanders and Alice Coltrane. As with the music of her contemporary Nat Birchall, Grossmann’s engagement with the Coltrane tradition is sincere and deep. Jazz man have released Elevation, a compilation album that draws from her 2016 album Natural Time and from 2017’s Momentum. The tunes feature her regular quartet of Radomir Milojkovic (guitar) Uros Stamenkovic (drums) and Gina Schwarz (bass), the music on Elevation is pure sound, soul and spirit! Golden Rule has now been re-released in a double vinyl edition – check it out here on RR Gems.

9. Quindependence – Road to the Promised Land from Circumstances

Back to Derek’s selections and what is becoming a common focus on music from Eastern Europe, particularly Poland. Quindependence are a quintet comprising young musicians and the album was released originally in 2017 but apparently got lost in a flurry of Polish jazz releases at the time, so has seemingly been re-released. Very good it is too with Road to the Promised Land including a wonderful contribution from pianist Michal Salamon, which I found really touched the senses. “Quite unusual complexity” says the Polish Jazz Blogspot of the album as well as referring to “the typical Polish lyricism and melancholy” – although somehow I did not feel the melancholy in this lovely tune.

10. New Bone – So Confused from Longing

New Bone’s Longing is another Polish album described as full of lyricism and melancholy by the Polish Jazz Blogspot, but here we have another tune that does not fit the description. They are another quintet but a long-established one, started by trumpeter Tomasz Kudyk back in 1996. Since then the quintet was given  impetus towards a more adventurous approach by the arrival of pianist Dominik Wania, who has taken the music into another more adventurous dimension. Able to add both imaginative accompaniments and dramatic solos, Wania has really changed the sound of this long running group. Longing is highly recommended and – as always with Polish music can be found at the always reliable Steve’s Jazz Sounds.

11. Ambrose Akinmusire – Tide of Hyacinth from On the Tender Spot of Every Calloused Moment

We have promoted the music of Californian trumpeter Ambrose Akinmusire since his arrival on the jazz scene playing in Steve Coleman’s influential Five Elements band in 2001. His most recent recordings have been on Blue Note, beginning with When the Heart Emerges Glistening in 2007. There’s a lyricism in Akinmusire’s trumpet sound that may appear to be masked by the sheer range of sounds he conjures from his instrument and the space he gives his long standing quartet. This is cerebral music but it is always substantial and important. The selection this week – Tide of Hyacinth – is a deep, intense tune full of meaning and significance. There is some free and intense playing that demands concentration and attention, with the addition to the usual quartet format of the band of the spiritual percussion and vocals of Jesus Diaz. Like so much of the  music of Ambrose Akinmusire, this new album is highly recommended. There will be more from Akinmusire on the show in coming weeks.

12. JZ Replacement – Marmalade for Radinska from Disrespectful 

This was definitely the part of the show that was not for casual listening. In fact, though, this tune was positively measured and restrained compared to some of the music on the album Disrespectful from J Z Replacement. Their music is often furious and frenetic, as was the case with the selection on the previous show. It’s not to say this one is on the lighter side – that’s not how you would describe this trio of Jamie Murray, Zhenya Strigalev and Tim Lefebvre. Drummer Jamie Murray is a former Sun Ra Arkestra alumnus while alto sax maverick Strigalev has played with Eric Harland and Ambrose Akinmusire. Joined by bassist Lefebvre (Mark Guiliana, David Bowie) and his electronic embellishments the basic punky trio sound is taken into a sometimes more club-related territory. Whatever, JZ Replacement are always original, engaging and at times very loud. We like them!

13. Maria Joao/Ogre Electric – Say Something from Open Your Mouth

We stay unpredictable element with Portuguese vocalist Maria Joao. This is someone whose jazz credentials include working with artists such as Joe Zawinul, Gilberto Gil, Egberto Gismonti, Trilok Girtu and Manu Katche as well as performing a duet with Bobby McFerrin. Yet at the age of 64 she has taken a more urban, groove-orientated electronic approach. As she says “New things will always be our motto, so sometimes it might not be so easy to label us, but who needs labels anyway”. This new album proves her point and Say Something is pre-released as a single. I must admit to some apprehension at first and to wondering if it fitted into the show – but I believe it does and the more I hear Maria Joao’s new music the more fascinated I become.

14. Mark de Clive-Lowe – Memories of Nanzenji from Heritage I

At a time when a Japanese player of dual heritage has just won the US Open Women’s tennis final, it felt appropriate to recognise a musician of a dual heritage that includes Japan. Mark de Clive-Lowe has Japan and New Zealand in his heritage and is now resident in Los Angeles. He has recently celebrated his Japanese side through two superb albums – Heritage I and Heritage II – and Memories of Nanzenji is a serene and beautiful example. Nanzenji is a 13th Century temple in Kyoto and the temple grounds includes the picturesque Tenjuan Gardens – a place for deep meditation. Clive-Lowe has said “As I’ve grown as a person and a musician, I’ve realised that my own voice and my own story is what is most important. I can’t be honest in my art if I’m trying to speak through someone else’s voice and that’s what has led me to my motherland — to Japan and connecting through my art with my ancestral heritage”. The music in both these excellent albums goes deep into de Clive-Lowe’s Japanese ancestry and cultural roots through the lens of jazz, electronica and beats in collaboration with his LA band of musicians. The new compositions are inspired by childhood folk stories, the mythology of his motherland and his own personal experiences in Japan, all wrapped up in his jazz and sample culture influences. The material for the albums was recorded over three nights of live concerts at LA’s legendary Blue Whale jazz club in Little Tokyo with one additional day in the studio. It won’t be a surprise that both releases are available via de Clive’ Lowe’s Bandcamp site.

04 September 2020: more time; more music

Welcome to the latest Cosmic Jazz! This and every show is available here on this site at the click of the Mixcloud tab (below). This week enjoy 90 minutes of music presented by Derek.

1. Elements of Life – Berimbau from Eclipse

This was an uplifting way to start the show: a tune from an outstanding album on the classic Fania label, a double CD inspired and organised by Louis Vega using Nu Yorican musicians. The album includes many excellent re-interpretations of great tunes with all versions bringing something different and interesting to the jazz, latin, deep house and afrobeat inspired tracks. Our choice this week was the tune Berimbau – an offering to the Brazilian single stringed instrument – and written by Brazilian guitarist Baden Powell. The tune has been made famous by many different versions recorded over the years including this version from Celia Cruz and Willie Colon and one of Baden Powell’s superb versions from 1967.

2. McCoy Tyner – Ebony Queen from Sahara

Having mentioned the exalted in terms of Latin music here is a musician from jazz through and through. After he left the celebrated John Coltrane Quartet, pianist McCoy Tyner went on to lead his own bands and produced a series of superb records for the Milestone label. The first of these was the epic Sahara, released in 1972 with Sonny Fortune on soprano sax, alto and flute, Calvin Hill on double bass and an electrifying pre-fusion Alphonse Mouzon on drums. Neil bought this record just a few years after its release and recalls playing it endlessly as a student – to the considerable annoyance of most of his neighbours… Whilst Tyner is rightly praised for his role in the Coltrane quartet, it is in his own records that he really began to fully develop his singular percussive style. Ebony Queen is the opening track on this album which went on to sell over 100,000 copies and represented a commercial breakthrough for Tyner who then recorded some 20 albums for Milestone over a prolific nine year period. Any one of these will reward the listener but new listeners could do well to start with Enlightenment, the Montreux Jazz Festival recording from 1973 that includes the concert favourite Walk Spirit, Talk Spirit, 20 minutes of percussive piano and a draining, exhilarating performance best seen in this video recording from the concert.

 3. JZ Replacement – Bee Bee from Disrespectful 

From the classic to the contemporary took us to JZ Replacement – an exciting trio who create original, upfront, fast, furious, frenetic and highly danceable music. Two London-based musicians – Jamie Murray on drums and Zhenya Stricalev on sax – are joined by Los Angeles bassist Tim Lefebrve. Don’t expect an easy listen: this is different, challenging, heavy music – but that’s what we like and need on Cosmic Jazz. If you enjoy the angular improvising of Ornette Coleman in his Prime Time phase (for example, on Desert Players here) then this might be right up your jazz street. The additional guitar player on this track is the Grateful Dead’s Jerry Garcia – an unlikely alliance, but one that works.

4. New Bone – Longing from Longing 

In great contrast to JZ Replacement came contemporary music that was not highly danceable, but calm and entrancing in a very different way. New Bone are a Polish quintet founded back in 1996 by trumpeter Tomasz Kudyk. The current quintet includes pianist Dominik Wania, who we have played before on the show and who according to Polish jazz writer Adam Baruch in the Polish Jazz Blogspot has added a more adventurous approach to the band’s music. Baruch describes the album as “full of melancholy and Polish lyricism”. This title tune provided a good example. As Derek noted, Kudyk’s trumpet recalls another great Polish player, the late Tomasz Stanko. Listen to this live version of the wonderful Little Thing Jesus here.

5. O.N.E. Quintet – As Close As Light from One  

Certainly not full of melancholy (unsurprisingly, not all Polish bands exhibit this trait!) are another Polish group – the O.N.E. Quintet. One is the first album from this young group and As Close As Light was written by pianist Paulina Almanska who features on the tune. There’s plenty of space for the other musicians in the group – on violin, bass, sax and drums – in a way that provides opportunities for self-expression without anyone ever being over-dominant. We really like their music and, as ever with these Polish sounds, check them out at the always excellent Steve’s Jazz Sounds.

6. Nubya Garcia – Pace from SOURCE

The next five tunes were all selected by Neil from his base a few thousand miles away in Singapore. First up was UK sax player Nubya Garcia from her long-awaited first album that’s garnered lots of very favourable comment and doesn’t disappoint. Neil comments on the quality of her tenor sax playing across the album but there is also some different thumping, dub-sounding bass throughout from UK player Daniel Casimir. The production on this album is very much a step up from Garcia’s first EPs: recorded with producer Kwes, whose credits include Solange and Bobby Womack, Garcia is pushed into new territory that really demonstrates her diversity.  It all remains firmly rooted in jazz but there’s a range of other influences here too – from the afore-mentioned dub to cumbia and Ethio-jazz. It all works and this new album is highly recommended.

7.  Christian Scott aTunde Adjuah – Songs She Never Heard from Axiom 

From a brand new new live album comes a lyrical tune originally on Christian Scott aTunde Adjuah’s Ancestral Recall album from last year. This is an extended and atmospheric live take with featured percussion that reflects a hip hop take on the second line drumming characteristic of the trumpeter’s home city of New Orleans. The beautiful muted trumpet sounds characteristic of Scott are joined on what he calls his ‘stretch music’ by       

8. Kahil El’Zabar feat. David Murray – Trane in Mind from Spirit Groove 

Up next is Chicagoan percussionist Kahil El’Zabar on another new album that features El’Zabar’s contemporary, tenor saxophonist David Murray ably supported by Justin Dillard on piano. El’Zabar performs in various groups including his Ritual Trio and Ethnic Heritage Ensemble. He was a member of the Bright Moments collective with Joseph Jarman and Steve Colson but he’s also worked as a more mainstream sideman with Dizzy Gillespie, Cannonball Adderley and Eddie Harris. The new Spirit Groove band features El’Zabar with Murray, young bassist Emma Dayhuff and Dillard on synth, organ and piano. El’Zabar takes up kalimba, drum kit, congas, shakers, vibes and even has a go at singing on this predominantly spiritual jazz release. Spirit Groove is actually on a new UK label, Spiritmuse and on vinyl is beautifully produced. As always, your best source for this record is the Bandcamp website: you can find Spirit Groove here in all formats and download.

9. Joey Alexander – Warna from Warna 

Indonesian piano prodigy Joey Alexander hails from Denpasar on the island of Bali. He was the first Indonesian to get a record into the Billboard Top 100 but Warna, his fourth album (and first for new label Verve), highlights composition rather than covers. Writing ten of twelve tracks here (with Sting’s Fragile and Joe Henderson’s Inner Urge added into the mix), Alexander has extended his range but this is a genuine trio + record. Long time bass partner Larry Grenadier deepens and enrich Alexander’s melodic inventions and new drummer Kendrick Scott is always inventive. On hand to add further colour is guest percussionist Luisito Quintero, performing the same function as Manolo Badrena in Ahmad Jamal’s trio. The other guest, flautist Anne Drummond, adds a different kind of ambience to two tracks. Just four albums in and only 17 years old, it’s interesting to speculate where Alexander might be in another ten records’ time…

10. Nat Birchall meets Al Breadwinner – African Village Dance from Sounds Almighty 

Saxophonist Nat Birchall may be known for his albums of spiritual-inflected jazz (see this earlier Cosmic Jazz feature) but his first great musical love was reggae and more specifically the dub sounds that emanated from the Kingston studios of Lee ‘Scratch’ Perry, King Tubby and Herman Chin Loy. Actually, if you go back to the early days of music in Jamaica you can hear that ska and jazz have close links. Listen to the Skatalites on The Guns of Navarone and you will hear this. For his 2018 album Sounds Almighty, Birchall enlisted the services of Vin Gordon, one of the original members of the Skatalites, Studio One regular and featured trombonist on so many reggae classics. The album doesn’t disappoint. It’s really a joint project between Birchall and Manchester-based Al Breadwinner, and the use of reel to reel tape machines and original analog equipment gives it a genuine authenticity. For more of Breadwinner’s music, investigate this link to his music on Bandcamp, where you will also find Vin Gordon’s excellent African Shores album and the brand new release from the Birchall/Breadwinner axis, Upright Living. Sounds Almighty is already out of print in its vinyl format but you can still get copies of the new release in this format. Those long-established links between jazz and reggae have, of course, never gone away – check out Jamaican saxophonist Dean Fraser – still going strong after many years – on contemporary reggae records from Tarrus Riley like Dem a Watch from his 2014 release Love Situation.

11. Ambrose Akinmusire – yesss from on the tender spot of every calloused moment

There will be more of Neil’s selections next time but it was back to one of Derek’s with a track from the 2020 release on Blue Note from trumpeter Ambrose Akinmusire. This is his fifth studio album and again features his regular quartet of Justin Brown on drums, Sam Harris on piano and Harish Raghavan on bass. This band have been playing and recording for over a decade – and it shows. Akinmusire writes and performs what may well be a cerebral take on jazz but the music never lacks emotional intensity, with the occasional vocals from Jesus Diaz only adding to the experience. This is music with depth and meaning and comes highly recommended. We shall play more.

12. Chanda Rule & Sweet Emma Band – Rosalie  from Hold On 

We ended this week’s show with vocalist Chanda Rule. “The songs on this album were originally written and sung by unnamed and undocumented African-American mothers, fathers, workers, prisoners, preachers, sons and daughters” says Rule and she adds “I gave many of the songs a lyrical update”. Chanda Rule was born and raised in Chicago, but is clearly influenced by the sounds of New Orleans. She has been an opening act for Kamasi Washington and has also collaborated with Donny McCaslin, but the band here comprises European jazz musicians. They bring a soulful and  gospel feel to the end of the show. More music next week on Cosmic Jazz.

 

26 August 2020: CJ is live again…

This week the show is shorter than usual as we’re still getting used to the new equipment and keeping it right for you. So, for a while there may be some shorter shows but more of them too. As it is, this week has five great tunes.

1. Sarah Tandy – Bradbury Street from Infection in the Sentence

Image © Benjamin Amure. 2015

This was a great start – the wonderfully inventive Sarah Tandy on piano, playing a tune that makes reference to the street where  weekly jazz jams helped get her noticed. I saw her first with Camilla George at the Cambridge Jazz Festival and have tried to keep up ever since. It was as a student at Cambridge University that Tandy changed from classical to jazz piano, and she remains simply amazing to listen to and watch. There are none of the flamboyant gestures – she just plays with an endless invention and rhythmic density. On her splendid album Infection in the Sentence she also provides much scope to the other musicians in the band – all luminaries of the current London jazz scene, including Sheila Maurice Grey on trumpet, Binker Golding on sax and Femi Koleoso on drums.

2. Jerzy Malek – In the Basement from Black Sheep

Jerzy Malek is a trumpet/flugelhorn player from Poland leading a sextet that includes Aga Derlak, an excellent young pianist. Black Sheep is his eighth album. In the Basement combines warmth and melody with depth. It makes you feel good and it moves you too. You can find out much more about Polish jazz via the Polish Jazz Blogspot where Adam Baruch provides useful informationand insights.  He describes this album as more in the American tradition than the contemporary Polish jazz scene – perhaps true, but it also reminds us that Polish jazz does not need to reflect that rather cliched view of a melancholic ECM-style approach to the music.

3. Lettuce – Resonate from Resonate

Lettuce are a US band that defy genre classification. Funk, jazz, soul, hip-hop, psychedelic, experimental are among the categories that they have drawn upon. Their seventh studio album Resonate has been released in digital formats only at present – no vinyl. Producer and engineer Russ Elevado guided the recording following his work with a number of musicians including D’Angelo, The Roots and Erykah Badu. We featured the title track on this week’s show but the whole album is worthy of attention. More than background instrumentals and deserving of a more careful listen. If (like me) you yearn for a bit of Washington GoGo music, then Checker Wrecker will bring a smile to your face. The accompanying video has a guest spot from Trouble Funk’s bass player and vocalist Big Tony Fisher.

4. Ana Mazzotti – Agua ou Nunca from Ana Mazzotti

The British Label Far Out Recordings has provided a valuable service to the world of jazz and more for over twenty-five years, with its many reissues of Brazilian music including both the popular and the less well-known. They have also issued some excellent contemporary recordings and are noticeably responsible for the resurgence of the incomparable Marcos Valle who continues to release excellent new records on this and other labels. One artist whom they re-released last year was Ana Mazzotti – a singer/composer who sadly died in her thirties and released just one album recorded in two rather different versions.

Born in Caixas, in Brazil’s Rio Grande do Sul, Mazzotti began to play the accordion aged five, before moving onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. On meeting drummer Romido Santos, Mazzotti was introduced to the music of Brazilian master Hermeto Pascoal whom she would later record with. Her debut album first appeared in 1974, but our choice comes from the re-recorded version from 1977 and is now available on all formats from Far Out. If the music has an Azymuth-like sound that’s simply because it features Jose Roberto Bertrami who co-wrote several of the tracks alongside Azymuth bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos – who produced the album – on drums.

5. Andrew Hill – Flight from Point of Departure

Pianist Andrew Hill is one of the greats we return to frequently on Cosmic Jazz. He recorded principally on Blue Note between the years 1963 and 1970, surrounding himself with some of the great names from the label. 1964’s Point of Departure is no exception, with Kenny Dorham on trumpet, Eric Dolphy on alto, Joe Henderson on tenor, Richard Davis on double bass and Tony Williams at the drums. However, if you think you can imagine what that might sound like – be prepared to think again. Hill’s compositions are not standard Blue Note in style. They are distinctive – angular and knotty but with melodies that rise up out of the rhythm and challenge you before sinking back down again. Influenced by Thelonious Monk and Bud Powell, there’s also a classicism in Hill’s music too with tones that could be Ravel or Debussy. Hill recorded five albums in his first eight months with Blue Note and they are all excellent.

He went on to record for Italian label Soul Note in the 1980s, before returning to Blue Note for a late flowering with the album Time Lines from 2005. It’s a good time to start with Hill on vinyl as two records have been released in the Blue Note 80 and Tone Poet series – check out Smoke Stack from the former and Black Fire (Hill’s debut for the label) as part of the latter, with both entirely faithful to engineer Rudy van Gelder’s vision of the best recordings in jazz.

Cosmic Jazz shows are back!

After a break of several months with nowhere to record the show, finally we are back. Sorry it’s taken so long. The Cosmic Jazz site has remained active, thanks largely to some superb pieces from Neil – check his latest entry on spiritual jazz and three contemporary purveyors. We deeply thank the many who have continued to log into the site and hope you’ll carry on doing so – especially now that there will be even more music. 

There are a few changes; the shows will mostly be longer than the one hour of the past and we’ll add in some new features too.  You may also find some ads appearing, but this simply enables us to cut costs (as opposed to making money) in what is a show self-financed by two guys who put it together for the jazzheads out there.

This first new show on our return features some Cosmic Jazz essentials we’ve made reference to over the years along with a couple of new tunes. We are so pleased to be back!

Black Renaissance – Black Renaissance from Black Renaissance Body, Mind & Soul.

This just had to be our first comeback tune. Black Renaissance emerged from a session that keyboard player Harry Whitaker arranged on 15 January 1976 – Martin Luther King Day. Made in one take in a packed studio with a party vibe, Black Renaissance is cosmic, spiritual, free and improvised. There are African roots. It has rap early in the year when rap reportedly first began. Is it one of the first rap records? It’s certainly one of  the first jazz record to incorporate rap. The musicians who turned up included Woody Shaw, Azar Lawrence, Buster Williams, Billy Hart and Mtume. Roberta Flack was in the studio too – Whitaker had been her musical director. There were subsequent stories of promised release never happening, of master tapes lost in a fire, but finally the music was found and released by the Ubiquity label in California. Let’s be thankful; the music is right up there. It’s a must-have record.

Soil & Pimp Sessions – Waltz for Goddess from Pimp Master

Soil & Pimp Sessions are included because they are favourites of the creator of this site, who birthed the Cosmic Jazz site over 20 years ago and whose expertise has enabled us to start recording again. Soil and Pimp are an outrageously wild and energetic Japanese jazz group who emerged from the Tokyo club scene in 2001. Their live performances are something else, as I have seen for myself at The Jazz Cafe. The tune Waltz for Goddess is one of their best known.

Rudolph Johnson – The Highest Pleasure from Theo Parrish’s Black Jazz Signature

This tune was released originally on Rudolph ‘Rudy’ Johnson’s album The Second Coming. I came across it via the compilation assembled by DJ and producer Theo Parrish – Black Jazz Signature Black Jazz Records 1971-1976. Black Jazz Records was a label founded in Oakland, California by pianist Gene Russell and percussionist Dick Schory, and created to promote the talents of young African American jazz musicians and singers. Just twenty albums were released between 1971 and 1975. Johnson was a sax player, seen by many as the heir apparent to Coltrane but who never produced enough records to fulfil this. On his second Black Jazz release, Johnson showed confidence in his direct, emotional approach to jazz. Staying true to his hard bop and Coltrane-inflected roots there are great contributions from bass player Kent Brinkley, drummer Doug Sides and pianist Kirk Lightsey – all musicians on the Los Angeles jazz scene of the time.

Gene Russell – Black Orchid from Gilles Peterson – Black Jazz Radio

There is more from Black Jazz Records and from another DJ compilation, this time courtesy of Gilles Peterson. Co-founder of the label, Russell was a keyboard player, both acoustic and Fender Rhodes. Black Orchid is probably one of his best-known tunes and a very beautiful one it is too. It was released originally in 1971 on the New Direction album which also features Russell’s takes on Listen Here and On Green Dolphin Street.  Black Orchid is actually a Cal Tjader tune that features on a great Three Sounds album of the same name.

O.N.E. Quintet – Drozyna from One

We have long featured Polish and other East European and Scandinavian jazz on the programme. This is thanks to the assistance of a key source for this music – the always interesting Steve’sJazz Sounds, which regularly sources excellent new music for the show. An exciting recent arrival has been the debut album One by Polish group the O.N.E. Quintet. They includes violinist Dominika Rusinowska, whose arrangement of the traditional tune Drozyna was featured on the show. The album also includes a tune from the seminal Polish composer and pianist Krzysztof Komeda with the remainder being originals by pianist Paulina Almanska and sax player Monica Muc.

Wojciech Jachna Squad – Mystery from Elements

Next comes another recent debut album from Poland entitled Elements from the Wajciech Jachna Squad. The leader is a trumpet player who has been on the Polish scene for a decade or so and has played both mainstream and avant-garde jazz. The album has a prominent role for guitarist Malek Malinowski who contributes to making music that is full of dark mystery. The selection on this week’s show – Mystery – is an appropriate summary of their style.

Chanda Rule and The Sweet Emma Band – Motherless Child from Hold On

Chanda Rule and the Sweet Emma Band have been an interesting new discovery. Chanda is a singer and song writer raised in Chicago and rooted in gospel, soul and jazz. Her version of the traditional spiritual Motherless Child combines all three. Rule has collaborated with saxophonist Donny McCaslin and provided opening sets for Kamasi Washington and India Arie. For the album Hold On she is backed by a group of fine Austrian musicians – The Sweet Emma Band, named after the renowned singer and pianist from New Orleans and the early days of jazz. They feature Paul Zauner on trombone, Mario Rom on trumpet, Jan Korinek on Hammond organ, Christian Salfellner on drums and Osian Roberts on saxophones.

The Elder Statesman – Montreux Sunrise from 7″ single

Just as the new show began with a Cosmic Jazz favourite, it seemed appropriate for the return to the end with another one, this time a more recent release. Lord Echo is Mike August, multi-instrumentalist, producer, engineer and DJ from New Zealand. He got together with two brothers from Wellington, Christopher (piano) and Daniel (double bass) Yeabsley to produce an excellent 7″ single released on the Brookyn-based Bastard Jazz label. The music is guided by Yeabsley’s ethereal piano playing to produce a wonderful, melodic, spiritual, gently-paced groove that floats away timelessly. On the other side is another gem, Trans Alpine Express. What a way to end our new show! More music soon come.

What is it about spiritual jazz?

Following on from the Tony Allen feature with a similar title, this CJ post takes a long hard look at spiritual jazz. As we have noted in a previous CJ, this blanket term seems to be applied to almost any reissue which features a dashiki-wearing tenor saxophonist who recorded in the 1970s for a private press label and has just had his album reissued on Soul Jazz Records, Jazzman or similar labels.

Well – and mentioning no names here – that may or may not be bonafide spiritual jazz. So what are we talking about? We were probably not using the term ‘spiritual jazz’ in 1965 but that’s as good a starting date as any and, of course, we’re talking John Coltrane and A Love Supreme – an album of deliberate transcendence, an entry into the world of musical mysticism and a record that has been lauded as one of the greatest jazz records ever. The thing is, it’s true. A Love Supreme is a work that has been both enjoyed and analysed for over 50 years and the more we investigate, the more there is to explore. For the deepest understanding of this truly awesome record, check out Ashley Kahn’s authoritative study at the book’s website here and for a superb investigation of Coltrane’s sound, read Ben Ratliff’s absorbing book Coltrane: the story of a sound.

In his final years Coltrane was moving forward at a dazzling pace, fusing the intensity of free jazz on such records as Ascension (1966) and Eastern-influenced experimentations like Om (recorded 1965, released 1968). A new world of exploration was opening up in jazz: the African heritage was being explored, Indian time signatures revealed new possibilities. Sound and space was now as important as music. Like-minded artists like Don Cherry, Pharoah Sanders, and Philip Cohran were each in their different ways exploring music both meditative and primal.

So what is spiritual jazz today? You’ve been crate digging for Don Cherry et al and you’ve come up with some great music – some celebrating the ‘trane tradition, and some not. But what of contemporary musicians? This post looks at three artists, each with a debt to Coltrane but with their own unique voices too. We’ll start with UK tenor saxophonist Nat Birchall who has been quietly releasing his own albums over the last few years and gathering acclaim from the jazz press. Best start with the 2011 album Sacred Dimension which superficially creates a Coltrane sound world (that’s Alice and John) with the use of bells, shakers and harp in addition to the more conventional quartet instrumentation. There’s Corey Mwamba on vibes too – and so the result is very definitely influenced by Pharoah Sanders, McCoy Tyner and more. Of course, there are modal bass grooves, rolling drum figures and tenor sax solos that are Coltrane influenced but what come across with all of Birchall’s releases is the sheer confidence of his sound. As reviewer Daniel Spicer noted in his online BBC music review It’s a deeply sincere homage to a master, presented with an open heart, full of passion and love. The lead track is Ancient World – presented here in this alternative take from the Live at Larissa album, recorded in Greece in 2013. Available on a double vinyl release, this album is also a must. In fact, any Birchall album from this point is recommended as are Birchall’s recent excursions into dub reggae – a long held passion that’s fully explained on Birchall’s own website, Sound Soul and Spirit where some of his favourite records includes a list of dub classics, like the glorious Java Plus from Prince Buster. Birchall has now achieved what must have been a long held ambition of recording with reggae masters Al Breadwinner and Vin Gordon on two dub recordings, Sounds Almighty (2018) and the soon to be released Upright Living. You need vinyl copies of both – head to Birchall’s Bandcamp site for more information. And – by the way – Birchall’s new jazz release, Mysticism of Sound, is a lockdown solo recording that’s as much Sun Ra space jazz as Coltrane’s Interstellar Space. All instruments – tenor and soprano saxophone, bass clarinet, Korg Minilogue synth, bass, drums, hand drums, bells, shakers – are played by Birchall. It’s essential listening!

Up next is Vancouver-born pianist Cat Toren, now resident in New York (rather than the UK’s northwest) and soon to release her new album Scintillating Beauty. We’ve championed Toren’s music here before on Cosmic Jazz and with advance notice of the new release here on Bandcamp it’s time to check out her take on the spiritual jazz tradition. Toren’s music is influenced by the free-form, socially conscious jazz of the late 60s but she’s also a passionate advocate of the current (and much needed) civil rights agenda. Indeed, inspiration for the music came from two quotes by Martin Luther King Jr. that Toren includes in the liner notes. The first, from Dr. King’s Letter from Birmingham City Jail, gave the album its title as well as a pointed social imperative: Let us all hope that the dark clouds of racial prejudice will soon pass away and the deep fog of misunderstanding will be lifted from our fear-drenched communities, and in some not too distant tomorrow the radiant stars of love and brotherhood will shine over our great nation with all their scintillating beauty. The second quote, from the sermon Remaining Awake Through a Great Revolution, begins We are all tied together in a single garment of destiny, caught in an inescapable network of mutuality and that thought provided the title for the second track on the new album, Garment of Destiny.

Toren’s previous album, released in 2017, was an inspirational one for us here at CJ and cuts featured on several shows. Human Kind was the debut of Toren’s band of that name, and the same lineup has recovened for the new album. Toren on keys, saxophonist Xavier Del Castillo, oud player Yoshie Fruchter, bassist Jake Leckie and drummer Matt Honor. Buy here from Toren’s site and the proceeds will go to the American Civil Liberties Union (ACLU). You can check out all tracks before you buy, including the superb Legacy (for A.C.) and right here listen to an excellent live version from the Rockwood Music Hall in Manhattan’s Lower East Side. Cat Toren’s music is highly recommended and the new album is highly recommended. Cat assures me that there will be a CD version as well as the download – both available in September from her own site or the ever-reliable Bandcamp.

Finally, we come to Muriel Grossmann, a tenor player now based in Ibiza, but born in Paris and a long time resident in Vienna. Her current quartet is very much international with Radomir Milojkovic (Belgrade) on guitar, Gina Schwarz (Vienna) on double bass and Uros Stamenkovic (Belgrade) on drums and is recently augmented by Llorens Barcelo (Mallorca) on Hammond organ. Grossmann’s quartet/quintet is very much influenced by Coltrane but – as with Toren – the bands have their own sound. You can hear just how different that is when you compare Grossmann’s take on Coltrane’s Traneing In, a track he first recorded with the Red Garland Trio in 1958. The Coltrane original is right here – and Grossmann’s soprano sax take is here on her Bandcamp site. This is intense music and – whatever we want to call it – has a spiritual deepness that truly does inherit the questing, yearning qualities of Coltrane’s unique sound. Traneing In comes from her album Golden Rule and is available from Bandcamp in all three formats – vinyl, CD and download.

The new album Reverence takes a different direction. The African influence is stronger and as Grossmann says, What jazz and African music have in common and what makes it so unique is that at its very core, as the strongest part of its foundation, each musician is dealing with a particular rhythm that contributes to the whole, therefore generating multidirectional rhythms also known as polyrhythms. The addition of Llorens Barcelo allows interplay between guitar and organ and the churning percussion maintains the kinds of locked groove over which Grossmann’s solos twist and turn. Check out this live take on Light, the final reflective track from Golden Rule.

So that’s three exploratory musicians and their bands: firmly embedded in a jazz tradition, but consciously searching for new sounds and influences from around the world to extend and develop their sound. Please support each of these artists by listening to and buying their music in whatever format you choose. Our preference remains vinyl: that symbiotic relationship in which the medium influences how the message is perceived (McLuhan’s ‘the medium is the message’) is never more true than when the disc is on the turntable, visibly in contact with the stylus and the listener is checking out the gatefold images or liner notes while listening to the music. As always, we promote Bandcamp whose heritage of supporting and paying artists is exemplary. It’s a service that values ownership, connects listeners directly to the artists and even rewards you with a message if someone buys music after finding it through you. Make lockdown more bearable and support those jazz musicians creatively enhancing your life.

Music is the healing force of the universe…

Cosmic Jazz on Ipswich Online Radio