Week ending 10 August 2019: new jazz from Poland and more

There is plenty of new music on the show this week from the usual places: Poland, the UK and the USA. All good stuff too and well worth a listen via the Mixcloud tab on this page.

My favourite current record has to be the album Ironside by UK band Ruby Rushton. I seem to remember hearing that Ruby Rushton is named after a grandparent of the band’s leader Edward Cawthorne (aka Tenderlonious). He is a flute and soprano sax player and is supported on this new album by Nick Walters on trumpet (who has his own excellent album Awakening out now). We’ll play as soon as we can. Joining Walters and Tenderlonious are Dan Shepherd on keyboards and Tim Carnegie on drums. The album is one of those that fits together seamlessly: as they used to say, ‘all killer, no filler’.  Tenderlonious has shown some restraint in his song titles here: only our chosen tune this week – Lara’s Theme (Alternate Take) – uses a well known title (but it’s not composed by Maurice Jarre). On the excellent On Flute EP, Tenderlonious had titles like Autumn Leaves (not Kosma/Mercer),  Song for My Father (not Horace Silver) and In a Sentimental Mood (not Duke Ellington)! This album is highly recommended to all lovers of the music we play on the show. We will play more.

The next album featured on the show I am not so sure about. UK group Nerija have just had their first album  Blume released. It has received considerable fanfare e.g. record of the day on BBC6 Music, much praise on the cool twitter scene and from the cognoscenti on the new jazz scene. The music is good, but in my opinion, not as good as some of the praise would indicate. There is some thing that really irritates, though, as one who has forked out a considerable sum for the supposedly double vinyl. There are two records of  “limited crystal clear heavyweight vinyl” (an unnecessary sop to cool consumerism if ever there was one) yet there are only three sides of music. I feel cheated. Rather have more more music than the aforementioned vinyl.

There was some self-indulgence in terms of playing more tunes that I really like. There have been several tunes played on the show from Polish trumpeter Piotr Wojtasik. If you have never heard him check out the music and Steve’s Jazz Sounds has many of his records available. The tune this week Stay in Time of Freedom was different from much of his music in that it includes vocals from Anna Maria Mbayo and Magdalena Zawartko. It is such a joy with its uplifting tune and vocals, thinking of playing it again next week!

The other was another airing from The Elder Statesman and Montreux Sunrise,  a tune released as a  download and 7″ single (with two sides I should add!) The group from New  Zealand are led by Lord Echo on piano and the tune has a warm feel that makes you move in a gentle and joyful way. It was one of those tunes which when we played it while DJing at a street fair earlier in the summer, soon brought an enquiry as to who was playing. It sounded great in the street.

There was another short funky/soulful/jazzy piece from the US band with one of the most eccentric names – Lettuce, available on their recently released album Elevate.

There was new jazz from Poland.  There was a first play on the show for t he Petera Sextet from their debut album Flashover. They are led by the young pianist/composer Dariusz Petera who studied in Warsaw. His compositions and improvisations are aimed to bring out the best of the five other members of the group playing cello, trumpet, saxophone, double bass and drums. Lovely music it is too and we shall play more of that as well. There was also another tune from the quartet led by alto player Wojciech Lichtanski; the title tune of their album Iga.

  1. Ruby Rushton – Lara’s Theme (Alternate Take) from Ironside
  2. Nerija – Equanimous from Blume
  3. Piotr Wojtasik – Stay in Time of Freedom from Live at Akwarium
  4. The Elder Statesman – Montreux Sunrise from single
  5. Lettuce – Ready to Live from Elevate
  6. Petera Sextet – Nordic Jente from Flashover
  7. Wojciech Lichtanski – Iga from Iga

Week ending 03 August 2019: many places, different musics

For the last few weeks Neil has been making the Cosmic Jazz selections, but this week it was back to Derek – although Neil was very much a presence as many of the tunes were his choices. This week’s show visited different parts of the world, past and present and the music reflected that diversity. Give it a listen via the Mixcloud tab (left).

We began by catching up on more jazz from continental Europe recently made available from the excellent Steve’s Jazz Sounds. Our first stop was Poland, with superb music from yet another alumni of the Katowice Academy of Music. Wojciech Lichtanski is an alto player who leads a jazz quartet and a very interesting one too. As a teenager Lichtanski won classical competitions and the music is clearly both composed and improvised. There are strong melodies, but also unexpected contrasts with interesting pauses and changes of direction. Lichtanski has played with one of our favourite musicians from Poland Piotr Wojtasik – surely credit enough? – and he’s also appeared at the Delhi Jazz Festival.

Mark Lotz is a veteran German alto/flute player resident in the Netherlands. He leads a trio with two Polish musicians on acoustic  bass and drums and their debut album, from which Raaste Men is taken, was an impromptu recording made while he gave a masterclass in Wroclaw, Poland. The record was then mixed back in the Netherlands. Raaste Men appears to be translated as ‘people screamed’ – but perhaps a Dutch speaking listener can clarify for us…

I have often heard people refer to “African music”. My response is the same as if they were talking about the music of any continent. How on earth (literally) could we encapsulate the music of Europe or Asia into any one style? We need to know much more – what sort of music, which part of that huge continent does it come from, and when was it recorded? The truth is – of course – that there are as many styles of music on the African continent as there are on any of our inhabited continents.So, not surprisingly, there is very little in common between the two tunes from the African continent played on this week’s show. This is Bolga Part I & II is actually a collaboration between the Bolga All-Stars from Bolgatanga, Ghana and the Polyversal Souls from Germany – but very much reflects the music of  the Bolgatanga area in the north of Ghana. The second is from the veteran and  outstanding pianist from South Africa, Abdullah Ibrahim. His music has long combined the traditional sounds of the South African townships with jazz and gospel. He has made albums over a period of sixty years but now has a new album released, four years since the last one. The Balance has ten tunes, nine of which are Abdullah Ibrahim originals. This has to be one of the significant releases of 2019. The August 2019 edition of Jazzwise Magazine has a feature on Abdullah ibrahim and this new album.

From South Africa, we crossed continents to Brazil and to Marcos Valle from his new album SempreYou could easily be mistaken into thinking that the next tune was also from Brazil given the name of the artists but while Azymuth are the group from Brazil, Azimuth were a trio from the UK formed in the 1970s with Kenny Wheeler on trumpet and flugelhorn, John Taylor on piano and synths and Norma Winstone using her often wordless vocals to ethereal effect. Azimuth recorded three albums for ECM Records, now collected into a box set and highly recommended by us here on CJ. The Tunnel has vocals that float to another plane, appropriate as that tune is also on a compilation assembled by DJ, producer and – yes – neuroscientist Sam Shepherd (or Floating Points) for the latest in the Late Night Tales compilations. The album is full of unusual choices that reflects and eclecticism someway beyond our own here on Cosmic Jazz – recommended nonetheless.

The show ended with two tunes from jazz greats. From time to time, we like to include tunes from essential albums on the show. Few are more essential to any jazz collection than Saxophone Colossus from Sonny Rollins. Recorded as long ago as 22 June 1956 it still sounds as fresh as ever with Rollins on tenor, Tommy Flanagan on piano, Doug Watkins on bass and Max Roach on drums. In the past I have played the Caribbean-influenced St. Thomas but this week it was Strode Rode. To end the show we went back to that excellent selection of Black Saint and Soul Note records and the title track from Archie Shepp’s Down Home New York album from 1984.

  1. Wojciech Lichtanski – First Questions from Iga
  2. Mark Lotz Trio – Raaste Men from The Wroclaw Sessions
  3. Bolga All-Stars & the Polyversal Souls – This is Bolga! Parts I & II
  4. Abdullah Ibrahim – Jabula from The Balance
  5. Marcos Valle – E Voce from Sempre
  6. Azimuth – The Tunnel from Late Night Tales – Floating Points
  7. Sonny Rollins – Strode Rode from Saxophone Colossus
  8. Archie Shepp – Down Home New York from You Need This: An Introduction to Black Saint & Soul Note 1975-1985

Week ending 28 July 2019: jazz old and new

This week’s CJ paid another visit to some of the more obscure corners of jazz and featured another selection of great tunes, both old and new. We began with more from guitarist Jack Wilkins’ Windows album but this time a take on Wayne Shorter’s Pinocchio, a track that initially featured on Miles Davis’ Nefertiti from 1968 and then again ten years later with Weather Report on the Mr Gone album. Drummer Makaya McCraven is no stranger to Cosmic Jazz but we haven’t featured much from his most recent album, recorded live in London in 2017 and featuring Soweto Kinch on saxophone, Theon Cross on tuba, Joe Armon-Jones on Fender Rhodes, Nubya Garcia on saxophone and Kamaal Williams on keys – the cream of new British jazz talent.

Two great tracks next, with the first from a favourite alto sax player, Art Pepper. The raw, lived-in sound of his later recordings reflect a life of hardship and addiction which began with alcoholic absent parents – a 14 year old runaway mother and an absent merchant seaman father. It’s perhaps not surprising that the young Pepper quickly picked up a serious heroin habit that saw him for extended periods in jail in the 1950s and 60s. The title of one of his best albums Straight Life was also the title of his biography, written by his devoted wife Laurie. The title track is a classic late Pepper composition, recorded many times throughout his later career. Our recording is not easy to get hold of and comes from one of the many recordings compiled by Laurie Pepper following his death in 1982. The band is one of Pepper’s best – pianist George Cables, bassist David Williams and drummer Carl Burnett. This live concert was recorded in Japan in 1981, the year before Pepper’s death and is a superb performance throughout with ace versions of Body and Soul, Besame Mucho and Mr Beautiful. So many of these later Pepper albums are stunning and one of the very best is a 4CD set of the complete Ronnie Scott residency in 1980. If you can find it on vinyl you’ll need £140 or so although it’s still available on CD for £55… The recording quality is great and Pepper is superb throoughout.

Flautist James Newton should be much better know. His album The African Flower is a unique take on seven Duke Ellington songs and again features an all star band – violinist John Blake, alto player Arthur Blythe, cornetist Olu Dara and more. The 11 minutes of Virgin Jungle is a highlight. Good luck with finding this one!

Our fifth track was from another under-recorded jazz artist, the alto player Azar Lawrence. His 2014 album, The Seeker, is a really good demonstration of his spiritual jazz credentials and is one of several albums released since 2007 in something of a musical renaissance. Up next was a bona fide classic and now pretty much a contemporary jazz standard. Chick Corea’s Spain is – like Rodrigo’s Concerto de Aranjuez – an ode to the country and, indeed, the tune opens with a direct quote from Rodrigo. The song has gone on to be recorded by many greats including Art Farmer, Rare Silk, Stevie Wonder and Al Jarreau. And finally, another great track from a pioneering contemporary label, Soundway Records – African Vibration’s Hinde in a remixed version by Julien Dyne. Glorious!

  1. Jack Wilkins – Pinocchio from Windows
  2. Makaya McCraven – Run ‘Dem from Where We Come From
  3. Art Pepper – Straight Life from The Complete Abashiri Concert
  4. James Newton – Virgin Jungle from The African Flower
  5. Azar Lawrence – Venus Rising from The Seeker
  6. Chick Corea – Spain from Light as a Feather
  7. African Vibration – Hinde (Julien Dyne rework)

Derek is listening to    

  1. Lacksley Castell – Mr. Government Man
  2. Misty in Roors – Oh Wicked Man
  3. Sonny Rollins – Way Out West
  4. Ben Comeau Ensemble – A Song of Innocence & Experience – Dark Sacred Nights
  5. Ruby Rushton – Moonlight Woman (Studio Session)

Week ending 21 July 2019: obscure jazz rarities

More jazz from Neil this week but, instead of the more typical new music, we have a bunch of classic vinyl tracks – some of which have not be reissued in any format and others which are simply hard to find. You can hear the show this week by clicking on this direct Mixcloud link.

In the week celebrating the first manned moon landing 50 years ago we thought it right that we should begin in a cosmic vein with the man from Saturn (or so he claimed) – Sun Ra. In fact, the track we featured was titled Neptune but, hey, it’s still galactic music. You can now find this on the Discipline 27-II album from 1973 which has been a previous Record Store Day release. It’s also been sampled in one of the tracks Neil has chosen for his listening choices this week (see below), and interestingly that sample was by the French band Motorbass, featuring the late Philippe Zdar who died tragically last month.

Up next was a classic from Herbie Hancock. Nobu is a keyboard tour-de-force taken from a live solo album which was initially released only in Japan. Another Record Store Day Exclusive – this time from 2019 – there were only 3000 copies of Dedication pressed worldwide. It’s a solo Hancock release recorded live in Tokyo and features versions of Hancock classics Maiden Voyage, Dolphin Dance and Cantaloupe Island.

Onwards with more obscure music but this time  from the legends that are the Art Ensemble of Chicago. The track Charlie M is from their ECM album Full Force, and is a heartfelt tribute to bandleader and bass player Charles Mingus. It’s probably the standout track on a highly recommended album that displays the full talents of all original members of this extraordinary band. The AEC are about to release a new album with their two surviving members – Roscoe Mitchell and Famoudou Don Moye.  Look out for it.

We went full on electric jazz with the next two tracks: first guitarist James ‘Blood’ Ulmer and a cut from his Freelancing album, the first of three he recorded for Columbia. These three albums could form a core collection of Ulmer’s work on their own and are all worth tracking down. It’s a great group that Ulmer’s working with here – David Murray on tenor sax, Calvin Weston on drums and Amin Ali on bass. You’ll also hear Oliver Lake, Olu Dara and Ronnie Drayton.  The next track increased the guitar quotient to four -and they were just part of a fourteen piece band that has Wadada Leo Smith’s trumpet at the heart of it. The full track is a 20 minute + piece and you heard an edit that captures the sheer power of this music. It’s a power-drenched, locked-down funk track that is less like Don Cherry and more like the 1970s experiments of Miles Davis on his Agharta and Pangea recordings. If you like this music then it will be worth checking out Wadada Leo Smith’s recreations of that Miles Davis era on three albums he recorded with guitarist Henry Kaiser in the Yo Miles! project. These really do extend that unique Milesian soundworld – try this version of Will which features the superb guitarist Nels Cline.

Music in a more reflective mood came with one of the jazz world’s great bass players, Buster Williams. Known for a long association with Herbie Hancock, Williams has sporadically recorded albums as a  leader too, perhaps the most notable being his first – Pinnacle in 1975, from which the track Batuki is taken. Alongside Williams is Onaje Allan Gumbs on keyboards, Sonny Fortune on soprano sax, Woody Shaw on trumpet and Billy Hart on drums. It’s a great lineup and an excellent album.

Don Pullen is a personal jazz hero of mine. With an utterly distinctive piano style that veers between the dramatically free and the lyrically inventive you can’t mistake his style. Our choice came from the 1989 Blue Note record New Beginnings, one from late in Pullen’s career and a great introduction to his music. It’s a powerful trio record with Gary Peacock on bass and Tony Williams on drums and the CD features this bonus track, Silence = Death.

We ended this week’s show with a beautiful track that was clearly familiar to us from another version. Contemplation is actually a McCoy Tyner composition from his album The Real McCoy, but you heard an excellent version from two undersung jazz players – Mal Waldron and Marion Brown from their long out of print album Songs of Love and Regret. Compare it with Tyner’s original composition right here.

  1. Art Ensemble of Chicago – Charlie M from Full Force
  2. Herbie Hancock – Nobu from Dedication
  3. James ‘Blood’ Ulmer – Where Did All The Girls Go? from Freelancing
  4. Wadada Leo Smith – Don Cherry’s Electric Sonic Garden (edit) from Heart’s Reflections
  5. Buster Williams – Batuki from Pinnacle
  6. Don Pullen – Warriors from New Beginnings
  7. Mal Waldron/Marion Brown – Contemplation from Song of Love and Regret

Neil is listening to…

Week ending 14 July 2019: all new music show!

This week’s Cosmic Jazz featured all new music from Neil, back from Singapore for a few weeks. Check out the sounds by clicking the Mixcloud tab (left). Most of the tracks played have been released in the last few weeks, with our featured album the latest from Brazilian icon Marcos Valle. We began with one of the many standout tracks from his new album Sempre (translated as Ever in Portuguese): Odisseia begins with a drum break lifted from Stevie Wonder’s Superstition and then goes on to reflect the full gamut of his recent revival with one of our favourite labels, Far Out Records. Production on this album is from Daniel Maunick, son of Bluey from the UK’s finest funk band, Incognito, and that Azymuth-like sound reflects the presence of their long-serving bassman, Alex Malheiros.

Up next was another brand new release – this time from prolific pianist and man with the longest beard in jazz, Jamie Saft. His new album has a definite spiritual jazz vibe and Saft is ably abetted by an outstanding quartet of deeply exploratory musicians: Saft, longtime collaborator Bradley Jones on bass, the wide-ranging drummer/percussion master Hamid Drake, and legendary saxophonist David Liebman, whose most famous tenure was with Miles Davis in the 1970s. This is a fine album and it’s a great introduction to Saft’s extensive catalogue.

UK keys player Joe Armon-Jones is making big waves at the moment with an eagerly-awaited second album coming up on the horizon. Perhaps as a taster, he’s just released a download and 10 inch single called Icy Roads (Stacked) and – as the cover art suggests – it has more than a nod to Thrust-era Herbie Hancock. We like the confidence that exudes from this track – the Rhodes piano is well to the fore (just as on Valle’s Odisseia) – and we’re looking forward to the new album. Armon-Jones is currrently on tour in the UK and will be at Gilles Peterson’s new We Out Here festival in Cambridgeshire from 15 August.

Recently re-issued on vinyl is the excellent album Windows from Jack Wilkins, first released on the Mainstream label in 1973. Wilkins is an undersung guitarist who could easily have been as successful as – for example – Gabor Szabo – but although he has released a number of albums and appeared as a sideman on many recordings, most people won’t have heard of him. Windows has now be re-issued by Wewantsounds label and it’s well worth a listen. It’s a mix of covers (including our featured track, Freddie Hubbard’s Red Clay) and originals, with Red Clay being noted for its use as a sample – most notably on the superb Midnight Marauders album from A Tribe Called Quest.

Phil Ranelin is noted as the trombone playing leader of The Tribe, a Detroit avant garde jazz ensemble devoted to raising black consciousness, alongside this co-founding Tribe Records and releasing several albums as a leader in the 1970s. The Tribe project ended but interest in Ranelin has resurfaced in recent years and he’s now back in the UK and working with one of our longtime CJ friends, UK drummer and producer emanative. The track we featured is – like the Armon-Jones tune – a download and 7 inch single and currently available on Bandcamp before the launch of the new album. Like other emanative projects, all proceeds will go to Gilles Peterson’s Steve Reid Foundation, of which Nick Woodmansey (emanative) is a trustee.

Time Grove are one of the many interesting bands we have come across through Bandcamp. Hailing from Tel Aviv, Time Grove are a collective guided by pianist Nitai Hershkovits alongside one third of Buttering Trio, and newly signed Stones Throw recording artist, Rejoicer. Their sound is varied track to track – delicate yet powerful; sonorous yet uplifting. The full line-up also features reed player Eyal Talmudi, drummers Roy Chen, Amir Bresler and Sol Monk, keyboard master Bemet, trumpeter Sefi Zisling, and guitarist Yonatan Albalak. Find out more on their Bandcamp page right here.

It was back to Marcos Valle for another tune from the new album. This time featuring Valle’s distinctive vocals and some lovely summery guitar, Alma (or Soul) is a further indication that this album is perfect summer listening – even if you’re not on a Rio beach with a caipirinha.

Our penultimate track is something of a curiosity, but one that’s worth listening to. It’s from pianist Randy Weston who we’ve featured on the show in recent week. Uhuru Afrika is an album  recorded in 1960 and originally released on the Roulette label and it features lyrics and liner notes by the poet Langston Hughes. It was banned in South Africa in 1964 (as was the more celebrated Freedom Now Suite from Max Roach) and it’s one of the finest (and earliest) combinations of African rhythms with jazz in a 24-piece big band that includes 14 horns, one guitar, two bassists, three drummers, and three percussionists. Martha Flowers and Brock Peters took vocals on our featured track African Lady, with Melba Liston responsible for the charts. The orchestra featured Clark Terry, Slide Hampton, Yusef Lateef, Shahib Shihab, Kenny Burrell, Max Roach and Babatundi Olatunji. The album has been made available once more on vinyl and you can find it here on Cornbread Records.

We ended CJ this week with an intriguing piece from Gamelan Semara Ratih, probably the finest gamelan orchestra in Ubud, Bali. The story behind this music is worth exploring: Lapanbelas is Bahasa Indonesian for ’18’ and this music is a gamelan interpretation of the Steve Reich composition Music for Eighteen Musicians, which was introduced to Semara Ratih by Evan Ziporyn, a New York musician studying in Bali. The music is now performed on a bi-weekly basis by the group at their regular concerts in Ubud. You can download the full track right here on Bandcamp.

  1. Marcos Valle – Odisseia from Sempre
  2. Jamie Saft Quartet – Hidden Corners from Hidden Corners
  3. Jack Wilkins – Red Clay from Windows
  4. Joe Armon-Jones – Icy Roads (Stacked) from 10in single
  5. Phil Ranelin and emanative – Vibes from the Tribe from 7in single
  6. Time Grove – Second Attention from More Than One Thing
  7. Marcos Valle – Alma from Sempre
  8. Randy Weston – African Lady from Uhuru Afrika
  9. Lapanbelas (18) – Gamelan Semara Ratih from Lapanbelas (download)

Neil is listening to…

Week ending 07 July 2019: jazz from Poland and more

This week’s pre-recorded show  was a mix of old and new, local and global. Some great sounds – and definitely worth checking out via the Mixcloud tab.

If I want to hear a piece of music that is deep, serene, calm and beautiful I would be hard pushed to find anything to surpass Peace Piece by pianist Bill Evans. The title made an  important statement for the time it was released in 1958. A  German CD re-release includes an excellent re-working of Peace Piece entitled Some Other Time and it was this wonderful tune that opened the show.

Sensitive piano playing was well to the fore in the RGG tune Tenderness from their album Memento. RGG are a young group, whose achievements have been recognised in their homeland Poland and this album has been up there as one of the current Cosmic Jazz favourites for several weeks.

The piano feature was completed by Cuban pianist Harold Lopez-Nussa and his trio. Their album Un Dia Cualquiera was recorded in Boston USA for Mack Avenue, a US label, but Cuba remains their base.

The Piotr Schmidt Quartet are also from Poland. The leader is a trumpeter with a PhD in music from Katowice. The tune 21 Grams comes from a tribute album to Tomasz Stanko, one of the greatest and probably most well-known Polish trumpeter both inside and outside Poland..

The Janczarski-McCraven Quintet is a Polish/US fusion band. Boris Janczarski is a Polish sax player who first graduated in law in France and then, under the guidance of another great Polish jazz musicianPiotr Wojtasik, became a jazz artist. Steven McCraven is a drummer from the USA and the father of drummer Makaya McCraven – currently winning many admirers in the US and the UK and a firm Cosmic Jazz favourite.

There is always room for US  jazz greats on the show and none more so than the spiritually uplifting Cannonball Adderley. There is room also for promising newcomers such as bass player Ameen Saleem and the more established but still contemporary Lettuce, whose single Krewe has been another programme favourite. To end there was a glimpse of the Hypnotic Brass Ensemble who combine both the traditional and the contemporary in US music – literally in the personnel (Kelan Philip Cohran & his six sons) and the style of music.

  1. Bill Evans – Some Other Time from Everybody Likes Bill Evans
  2. RGG – Tenderness from Memento
  3. Harold Lopes-Nussa – Contiga en la Distancia  from Un Dia Cualquiera
  4. Piotr Schmidt Quartet – 21 Grams from Tribute to Tomasz Stanko
  5. Janczarski & McCraven – Travelling West from Travelling East-West
  6. Cannonball Adderley – Space Spiritual from Walk Tall
  7. Ameen Saleem – Possibilities from Groove Lab
  8. Lettuce – Krewe  single from album Elevate
  9. Kelan Philip Cohran & the Hypnotic Brass Ensemble – Apsara from Kelan Philip Cohran & the Hypnotic Brass Ensemble

Derek is listening to…..

Neil is listening to…




Week ending 29 June 2019: the jazz diaspora

On 22 June 1948 the Empire Windrush ship, carrying some 500 settlers from Jamaica, docked at Tilbury, near London.  It was the first of several boats and planes to arrive in the 1940s, 1950s and 1960s bringing settlers to the UK from Caribbean islands. During the weekend before CJ this this week there were commemorations across the UK for and by what became known as ‘the Windrush generation’. There there were wider expressions of support for the survivors but also much justified anger anger at the way in which that generation have been treated recently as a result of the UK Government’s ‘hostile environment’ policy. It seemed appropriate, therefore, to start the show with a tune from Anthony Joseph – a Caribbean wordsmith – from an album he recorded in Trinidad, with arrangements by UK sax player Jason Yarde, whose family also came from the Caribbean.

I am always one to be struck by tunes or albums with titles that provoke, amuse, make you think or conjure up specific images. The latter certainly applies to the title of an album from a septet led by Polish trombone/flugelhorn player Szymon Klekowicki. A Day in the Bus conjures up images of musicians travelling together to their next show and then travelling back afterwards. No doubt sometimes it’s fun and sometimes not – the music, though, sounds pretty joyful. Klekowichi is a graduate from the Katowice School of  Music, one of several that we have encountered on the show. He has collaborated with US pianist Jason Moran and UK pianist Jamie Cullum. His tune was followed by another Polish group – HotS – an interesting name and way of spelling with a live album that has titles based on numbers.

The surprise/discovery/uplift of the week came from a tune sent in by Neil. The Polyversal Souls are Berlin-based but they have collaborated with the Bolga All-Stars  who come from a town with over 66,000 residents in the Upper East Region of Ghana. This is Bolga Parts I & II is released as a 7″ single and download. It is a delight. The tune offers praise to the musicians coming out of Bolgatanga and combines musicians and singers from Bolgatanga with musicians from The Polyversal Souls – Berlin to Bolgatanga or Bolgatanga to Berlin?  Whatever, this is also the jazz diaspora at work. The track is a must-listen and a must-buy – check it out on Bandcamp right here.

The July 2019 edition of Jazzwise is now available with a sample CD from the excellent Rare Noise Records. There is also a July 2019 edition available of  Echoes, the other music magazine that I consult. Jazz writer and broadcaster Kevin le Gendre can be found in both as deputy editor and jazz specialist for Echoes and as columnist and reviewer for Jazzwise. The latest edition of Echoes has found a new record of the month category, namely Non-Genre Specific Album of the Month. Moreover, the reviewer – not Kevin le Gendre – has awarded it the rare accolade of a five-star rating. The album in question is by Esperanza Spalding and from the tune on the show, the Echoes categorisation seems an appropriate one. Not sure about the five-star rating but it certainly grows on you. Spalding says this about the genesis of this new project: “First, an idea struck: 12 Little Spells… I wanted to release one more song-ey album/tour project to tide us over before I disappear into the belly of developing the next full thing… Then, all the sudden, this 12 Little Spells idea just started taking shape in my imagination all quick-like… And made various parts of my body tingle: hands, legs, solar-plexus, ears, feet, arms…” The album is available only on from Esperanza Spalding’s website here.

There was more from multi-talented composer/musician/DJ/producer Mark de Clive-Lowe. There were two tunes to reflect the different sides of his work. Firstly, a new tune from his excellent album Heritage I, which integrates his Japanese ancestry with his DJ skills in an essentially live recording – the new jazz diaspora? We followed this with an impressive remix he did of a 1960s tune by US drummer Chico Hamilton. Both Heritage I and II albums are highly recommended and we shall continue to play selections from both in upcoming shows.

Finally, it was back to a track recorded in 1969 by flautist Herbie Mann, supported by vibes player Roy Ayers, from his days as  a jazz man as opposed to a soul/fusion player. The always under-rated Sonny Sharrock featured on guitar along with undoubtedly the most recorded bass player in jazz, Ron Carter on bass. The guitarist is relatively restrained here but for a more immersive Sharrock experience, listeners would do well to check out an album that has recently emerged once more on vinyl – the powerful Ask the Ages. The record features Pharoah Sanders on sax, Charnett Moffett on bass and Elvin Jones on drums and was the last album recorded before Sharrock’s death at the age of 53. The track Many Mansions will give some idea of the ferocity of Sharrock’s style – the spiritual jazz style waltz suggesting that this is truly a fuzztone guitar version of Coltrane’s late style (and the presence of Pharoah Sanders only accentuates this).

  1. Anthony Joseph – People of the Sun from People of the Sun
  2. Szymon Klecowicki Septet – Time Dilation from A Day in the Bus
  3. HotS – 30 from Live in Troika
  4. The Polyversal Souls feat. The Bolga All-Stars – This is Bolga Parts 1 & 2 from single
  5. Esperanza Spalding – Dancing the Animal (Mind) from 12 Little Spells
  6. Mark de Clive-Lowe – Memories of Nanzanji from Heritage I
  7. Chico Hamilton (Mark de Clive-Lowe remix) – El Toro from Impulsive! Revolutionary Jazz Reworked
  8. Herbie Mann – In Tangier/Paradise Beach from Stone Flute

Neil is listening to…

Week ending 22 June 2019: ‘trane tracks

The choice of artist for the star of the show this week was simple. All morning I had been playing John Coltrane records. Every time I do, I am entranced and left in awe of what this great man achieved so many years ago and what an influence he has had on other musicians since. In 2018, lost tracks were discovered and collected onto the album Both Directions At Once and it seemed appropriate to return to this must-have music, recorded on 06 March, 1963, and featuring Coltrane’s classic quartet of McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. The seven tracks include five Coltrane originals (including one of his most popular compositions, Impressions) and two standards, Nature Boy and Vilia. We love this record on Cosmic Jazz but almost anything by Coltrane is an essential listening experience. Perhaps the more significant matter is where these recordings stand in Coltrane’s œuvre, and how they illuminates his art and the trajectory of his too-brief career. Coltrane died, at the age of forty, in 1967 but not before leaving a legacy of music that moves between the melodic and the monumental – all with his unique tone on both tenor and soprano saxophones. Our view is that this lost album presents Coltrane in transition, and so is somewhat restrained compared with the live performances recorded around the same time. However, this makes it a great place to start a Coltrane journey. If you do not possess it in your collection, click the Mixcloud tab to hear the track One Up, One Down and find out why you need this record – best chosen on vinyl and in the two disc set which features seven interesting out-takes.

So often selections revolve round ‘shuffle’ tunes that I have come across recently. This week, vocalist Cecile McLorin Salvant appeared with a tune I have not played on the show before – Growlin’ Dan. Salvant certainly does some growlin’ of her own on the tune to make the point of what Dan must have been like. What a strong and versatile voice! It also seemed appropriate to play one of her records to respect Lawrence Leathers, the drummer on this excellent album who sadly died recently.

There have been references on the show recently from jazz to the continent of Africa – for example, Randy Weston on last week’s show. There was more this week. Firstly, from Max Roach and his essential 1960 album We Insist! Freedom Now Suite. A prominent part in the tune All Africa is played by the Nigerian conga player Michael Olatunji who in the introduction answers Abbey Lincoln’s voice  as she chants the names of African tribes. Throughout the tune he is the leading drum voice.

The second came from pianist and composer Horace Parlan. The title of the number makes the purpose plain to see – Home is Africa, It was recorded for Blue Note Records in 1963, originally on an album entitled Happy Frame of Mind, but I have it on a Blue Note compilation called African Rhythms.

Eastern European jazz has different priorities but still stretches out across continents both for its musical influences and for some of the personnel in the bands. The latter is illustrated by the pianist Adam Jarznik Quintet, whose newly released record On the Way Home features guitarist Mike Moreno. Jarznik himself was trained at the Katowice School of Music. From the Czech Republic came sax player Ondrej Strevacek whose album Sketches is one of three currently available at Steve’s Jazz Sounds . The title tune features some strong piano and sax playing, a powerful number.

The debate from last week regarding Cinematic Orchestra was offered more evidence by the inclusion of the title track from the recently released album To Believe. Look at the informed and perceptive comments from Neil in the notes to last week’s show to find  his guidance on how to listen to this album and how his perception of it was changed.

To end there was a sample of Jane Bunnett, whose excellent Cuba – North American collaboration preceded the Buena Vista Social Club with an outcome that in my opinion was superior.

  1. John Coltrane – One Up, One Down from Both Directions At Once
  2. Cecile McClorin Salvant – Growlin’ Dan from For One to Love
  3. Max Roach – All Africa from We Insist! Freedom Now Suite
  4. Horace Parlan – Home is Africa from Happy Frame of Mind/African Rhythms
  5. Adam Jarznik Quintet – On the Way Home from On the Way Home
  6. Ondrej Stveracek – Sketches from Sketches
  7. Cinematic Orchestra – To Believe from To Believe
  8. Jane Bunnett – Spirits of Havana from Spirits of Havana

Neil is listening to…

Week ending 15 June 2019: from ‘death jazz’ to orchestral grandeur

Sometimes, Cosmic Jazz features themes that focus on an artist, or style of jazz or a particular instrument. Not this week. There’s no theme – just the usual eclectic mix of music and it’s all available via that Mixcloud tab you can see (left).

So – no good reason to  play the first selection – other than that I felt like hearing  Soil and “Pimp” Sessions again. You might think that this band has gone rather quiet in recent years: they certainly don’t have the profile they did in the 2000s when they were a fixture on the club jazz scene worldwide. But they are still active, with a release in 2018 called Dapper. The band is now a more compact trio, but in their heyday they were a five piece band – with President a.ka. Shacho billed as ‘agitator’ on album credits. The music may have some derivative elements but there is no doubt that what they called their ‘death jazz’ style was an influential sound – original, eccentric, entertaining and fun-loving. I was lucky enough to catch them live some years back at the Jazz Cafe – it was quite an experience.

The next tune, particularly the opening bars, had a feel that fitted nicely coming after Soil & “Pimp” Sessions. It was almost back to one of last week’s themes of less familiar jazz instruments – in this case the trombone. Rosie Turton is another of the ever-increasing excellent young jazz musicians coming out of London. Like so many of her fellow performers she can be found playing outside the group she leads. In fact, she is a member of Nerija – which seemed a pretty sound reason for playing the track that was on last week’s show. And you can now checkout the group’s first full length release here on Bandcamp. We’ll be featuring tracks from this new album in upcoming shows.

We are used to playing young jazz musicians from Poland, but this week it was the turn of two long-established Polish musicians – both of whom are musicians, composers and university lecturers in jazz. Leszek Zadlo, a saxophonist, leads a quartet and Exile from Paradise Part 2 comes from an album of great significance to Polish jazz.  Krzysztof Komeda was one of the greats of Polish jazz. The Leszek Zadlo Quartet’s album Komeda, Wygnanie Z Raju is an arrangement of Komeda’s music that had been lost and has been discovered recently. “Melancholic sounding lyricism” is one description that has been given to the record – but, I wonder, is the word melancholy over-used with regard to Polish jazz? I think so.

The other Polish ‘veteran’ was Marcin Gawdzis and his Quartet.  He is a trumpeter and his album Mind Recovery has been described as “Mainstream jazz with the usual Polish twist, adding elements of Slavic melody and lyricism”. Again, a possible point for discussion – and note the repeat from the Leszek Zadlo review of that word “lyricism”.

Then onward to a tune which will no doubt  provoke some divergent views – not least between myself and Neil. The Cinematic Orchestra have a noteworthy legacy of music behind them and the release of a long-awaited new album should be welcomed. Neil likes it and sent the music across. While playing A Caged Bird/Imitations of Life I found myself not sure, becoming interested then ultimately feeling disappointed. Have I got it wrong and what might I be missing? I leave it to to Neil to explain… Well, (writes Neil), I too was initially rather disappointed with To Believe, this new album from the Cinematic Orchestra. It came across as both a reiteration of key elements from their last release some 12 years ago, but also something of a departure. After several listens I changed my mind. The first point to make here is that this is a group of songs that have been put together in a memorably satisfying way. There is a delicacy in each track that is best experienced listening through headphones or a rather good hifi system – and our choice for this week’s show is typical of that attention to detail. Roots Manuva’s vocals on A Caged Bird/Imitations of Life reprise but also extend his All Things to All Men from 12 years ago and end up creating an epic composition that lives in the memory.

Perhaps the best song on the album is actually the only one without vocals – but it’s still a lyrical exploration of contemporary minimalism. Lessons is what the Guardian review calls “nine minutes of murmuring conversation between the players, dominated by Luke Flowers’ gently military drums” and it is, indeed, just this and like much of Cinematic’s work, a soundtrack to an imaginary film. This is an album to spend time with – ideally listening to the whole piece from beginning to end and revelling in the grandeur of a superb mix of the orchestral and electronic.

To end the show this week there was an excerpt from an artist we both admire. Randy Weston was one of the greats whose interest extended beyond jazz to the rhythms from African countries. This is well exemplified in the music of Blue Moses and the title of the album from which the track is taken.

  1. Soil & “Pimp” Sessions – A Wheel Within a Wheel from Pimp Sessions
  2. Rosie Turton – Butterfly from Rosie’s 5ive
  3. Nerija – Pinkham from Nerija EP
  4. Leszek Zadlo Quartet Exile from Paradise Part 2 from Komeda, Wygnamie Z Raju
  5. Marcin Gawdzis Quartet – Mind Recovery from Mind Recovery
  6. Cinematic Orchestra – A Caged Bird/Imitations of Life from To Believe
  7. Randy Weston – Blue Moses from The Spirits of our Ancestors (Disc 2)

Derek is listening to …

Neil is listening to…

Week ending 08 June 2019: jazz instrumentation

Piano, double bass, drums, saxophone and trumpet are probably the most common instruments to be found on jazz records. Maybe also guitar would push close for inclusion in such a list. But other instruments have found their way into jazz over the years and a click on the MixCloud tab (left) will provide some examples.

First up is the violin. Yes, we may be able to name some violin players in jazz – but probably not that many.  The show began with an interesting and distinctive player. On The Blessing Song from his 1972 Impulse! album Pneuma, Michael White manages to move the violin far away from – for example –  its string quartet context.  Instead, here it’s a beat-driven, up-front instrument which, along with the constant percussion and piano, enables the tune to swing along to an irresistible rhythm that you have to move to. There are also choir-like voices invoking the Lord in the background – always a hit with me. This is the perfect tune to open a show or to listen to any time.

The vibraphone. Again, we could all name some jazz vibes players, but the vibes are not the easiest of instruments to carry along to the average gig and this may be a factor that explains its comparative rarity. One of the finest vibraphonist in jazz has to be Bobby Hutcherson and we find him on McCoy Tyner’s 1968 Blue Note recording Time for Tyner from which Little Madimba appears. With Hutcherson and Tyner on this exemplary Blue Note recording from the famed Rudy van Gelder studios are Herbie Lewis on bass and Freddie Waits on drums.

Brazilian musician Hermeto Pascoal can be found playing a range of instruments even more unfamiliar to most jazz audiences. He makes guest appearances on Palmares Fantasy, a recent album release by UK sax player Sean Khan. On one tune Pascoal is credited as playing a glass of water… Indeed, his view is that anything can be an instrument – a carpets, a chair, a pint of beer, body parts. A pig famously features on his celebrated 1977 album Slaves Mass but on Waltz for Hermeto he simply plays the melodica. Incidentally, also on this tune are other instruments not common in jazz – viola, cello and (again) violin.

The piano/double bass/drums trio is most certainly a common jazz line-up and there are many, many fine examples to be found. One of our current favourites is RGG a trio of young Polish musicians.  They have rightly been included in a list of distinguished Polish jazz and their music is deep, spiritual and moving. On the  tune Gloria tibi Domine (Praise to the Lord?) listen out for some lovely subtle touches from drummer Maciej Garbowski.

The Quantum Trio features another unusual jazz trio format – sax, piano and drums. Polish musicians sax player Michal Jan Ciesielsji and piano player Kamil Zawislak met their drummer Luis Mora Marus in Rotterdam. He  had reached the Netherlands via Brazil and before that his country of birth, Chile. What is not unusual for anything in the way of Polish jazz is that their music can be found and got hold of at the excellent Steve’s Jazz Sounds.

Neil has sent some of the music he has been listening to. Nerija are a large UK-based band, The musicians include many of the young players that have made such an impact on the London jazz scene recently – including Cassie Kinoshi, Shirley Tetteh, Rosie Turton and Nubya Garcia. Currently available is their first EP – check it out here on Bandcamp – but look out, too, for live performances from these musicians either in Nerija, other groups or as leaders of their own band.

Mark de Clive-Lowe is a musician/producer who has two new releases, both exploring his heritage. Appropriately titled Heritage I and Heritage II these new albums may be the best music he’s produced so far. De Clive-Lowe was born in New Zealand with Japanese and New Zealand parents but has since moved, first to London and then Los Angeles. The Japanese folk song, O Edo Nihonbashi, comes from the second of these albums, both of them recorded largely live at LA’s Blue Whale club.  Heritage II opens with a meditative solo piano introduction that refers back to the more reflective heritage-based music on Heritage I before giving way to Dilla-inspired beats and basslines. Interestingly, there is no overdubbing or post-production on either album – De Clive-Lowe juggles grand piano, synths, drum machines, samplers and more to create layer upon layer of fascinating music. It’s one of those tunes that had me wondering as it started – but by the end I was enveloped in a cacophony of noise and interesting sounds. I’d recommend starting with Heritage I and exploring de Clive-Lowe’s take on Japanese culture, including an original that sounds like a traditional folk tune – the beautiful Memories of Nanzenji. Check out, too, this traditional interpretation of O Edo Ninonbashi. Both of these new albums are available on Bandcamp here and come highly recommended.

Neil also sent along one of our shared club favourites from ‘back in the day’ – the Snowboy acoustic mix of Keni Burke’s classic Risin’ to the Top. I have this along with four other versions on  12″ vinyl. It is jazzy rather than jazz but I love it. Keni Burke was a member of the Five Stairsteps group – described as the ‘First Family of Soul’ before the Jacksons assumed the title. Their biggest hit was O-o-h Child (sic), a track recently covered in a jazz context by both Kamasi Washington and vocalist Dwight Trible on his album Cosmic.

We chose to finish with another of our favourite artists – alto saxophonist Kenny Garrett, who ended the show with his tribute to drummer ‘Philly Joe’ Jones. The track is from Garrett’s fourth and most recent release on the Mack Avenue label – titled Do Your Dance, it really is just that. Garrett works his way through a set of original songs that exploit dance rhythms in subtle, unexpected ways. While there are dance beats from swing, funk, Latin, and more throughout the album, the concept is probably more to do with simply ‘doing your own thing’ – a trait that runs deep in Garrett’s music. Philly is more of a swinging post-bop outing than a reflection of the smooth grooves of Gamble and Huff’s classic Philly soul (although the eclectic Garrett could probably do that too). Elsewhere on the album is the interesting Wheatgrass Shot (Straight to the Head) featuring rapper Donald “Mista Enz” Brown which, as one reviewer commented, “sounds like the Roots making an ECM album” and the buoyant Calypso Chant which owes more than a little to Sonny Rollins and his classic St. Thomas.

  1. Michael White – The Blessing Song from Pneuma
  2. McCoy Tyner – Little Madimba from Time for Tyner
  3. Sean Khan feat. Hermeto Pascoal – Waltz for Hermeto from Palmares Fantasy
  4. RGG – Gloria tibe Domine from Memento (Polish Jazz Vol. 81)
  5. Quantum Trio – Streams from Red Fog
  6. Nerija – Pinkham from Nerija EP
  7. Mark de Clive-Lowe – O Edo Nihonbashi from Heritage II
  8. Keni Burke – Risin’ to the Top (Snowboy’s Acoustic Mix) from Badmeaningood Vol. 3
  9. Kenny Garrett – Philly from Do Your Dance

Neil is listening to…

Cosmic Jazz on Ipswich Online Radio