Tag Archives: Keith Jarrett

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.

  1. 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.

2. 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.

3. 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.

5. 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.

6. 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 in fact 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.

7. 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 on electric piano, Charles Owens on saxes and trombonist Oscar Brashear. Aunt Lovey moves from straightforward funky Grant Green-style licks into a freeish Sonny Fortune-style soprano sax solo and some very overdriven keyboard work from Lightsey before fading out and leaving you wanting more.

8. 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.

9. 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 so is very much in tune with the times and issues facing those communities. And that, of course, much makes it entirely relevant for these troubling times too…

Look out for more from the Black Jazz label in upcoming weeks on Cosmic Jazz.

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.

  1. 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.

2. 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.

3. 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.

4. 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.

5. 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.

6. 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.

7. 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.

8. 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.

9. 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.”

10. 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!

11. 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.

12. 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.

13. 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.

Week ending 18 August 2018 – old, new and even (sort of) classical

What do you want to see on an album cover? An aesthetically pleasing piece of artwork, a photo of the musicians or an image that grabs your attention? One of the records from which a tune of over sixteen minutes is included in this week’s Cosmic Jazz probably comes into the latter category. It is almost scary in appearance – see  for yourself. The cover, along with playing the music, was brought to my attention by staff at Soundclash Records in Norwich. The record  is Work, Money, Death by Leeds-based tenor saxophonist Tony Burkill.

The show this week includes the outstanding tune from Tony’s album, Beginning and End: an intense tune that builds and builds, with Tony’s sustained sax playing, the insistent rhythms of the Headingley Hand Choir and guest piano from Matthew Bourne (the jazz musician, not the dancer). It is good to see records emerging from across the UK and not just London. Manchester is well established through Gondwana records and Tony is not the only jazz musician to emerge from Leeds – the Roller Trio came out of the music college in the city.

The show opened with two of the artists that over the years rank among the most-played on Cosmic Jazz. The first came from Carmen Lundy, who over a number of years has been right up there among our favourites. She is widely respected but does she get the veneration she deserves, does she perform in the UK as often as we could expect? Probably not.  You’re Not In Love is one of those tunes which illustrate her strength of purpose not only through the lyrics but also her voice which at the same time has a sultry, sensuous quality. It is a live version from a concert recorded at the Madrid Theatre, Los Angeles in February 2005.

The second artist in this category is pianist Keith Jarrett from another live album After the Fall recorded in Newark, New Jersey in late 1998 but released in 2018. The selection this week is a classic tune When I Fall In Love, the first version of which was recorded in 1952. Here Jarrett is accompanied by classic jazz musicians – Gary Peacock on bass and Jack de Johnette on drums. Recommended.

The cover of the Jamie Saft Quartet was mentioned last week. Perhaps best ignored for the oblique, idiosyncratic words but the visuals are interesting. The most important thing, though, is the music. It is really good and, at times, outstanding. One of the very best tunes on the album Blue Dream (available on CD or double vinyl) on the excellent Rare Noise label is Words and Deeds. Listen out as the tenor sax of Bill McHenry comes blasting in – a powerful moment.

There a further reggae connectionon the show this week – this time from Nat Birchall, another sax player from the North of England. He has always cited dub reggae as one of his true inspirations and for his album Sounds Almighty has enlisted the support of veteran Jamaican trombonist Vin Gordon, whose contributions to vintage ska back in the day are legendary. Also linked to the Caribbean, although more in name and political intent than through the music, is the highly recommended album from Nicholas Payton – Afro-Caribbean Mixtape. Nicholas Payton is one of an increasing number of black jazz musicians who are using their music as a vehicle to express political viewpoints.

The classical connection comes from John Coltrane from the newly-released lost album Both Directions At Once. The tune Vilia Take 3 is Coltrane’s improvisation of a piece from the operetta The Merry Widow by Austro-Hungarian composer Franz Christian Lehar.

The show ends with another contribution from the British New Wave. The excellent Maisha from Gilles Peterson’s Brownswood compilation We Out Here exemplifies the approach of these new groups.

  1. Carmen Lundy – You’re Not In Love from Live at the Madrid
  2. Keith Jarrett – When I Fall in Love from After the Fall
  3. Jamie Saft Quartet – Words and Deeds from Blue Dream
  4. Nat Birchall – Wisdom Dub from Sounds Almighty
  5. Nicholas Payton – Jazz is a Four Letter Word from Afro-Caribbean Mixtape
  6. Tony Burkill – Beginning and End from Work, Money, Death
  7. John Coltrane – Vilia Take 3 from Both Directions At Once
  8. Maisha – Inside the Acorn from We Out Here

Week ending 28 July 2018: some recent favourites

This was a pre-recorded show and on such occasions I tend to select some Cosmic Jazz favourites from albums we have played before. This week proved to be no exception.

We regularly celebrate emerging jazz artists from across the globe on this show and so we began with two contemporary Blue Note artists – Otis Brown III and Marcus Strickland – and both found themselves in the company of more well known CJ regulars. The 2014 (was it really that long ago?) release on from drummer Otis Brown III The Thought Of You has been a particular favourite and features some notable guests including vocalist Gretchen Parlato, trumpeter Keyon Harrold – whose recent solo record we have featured – and keyboard player Robert Glasper. It’s tough, contemporary urban jazz. Next up was saxophonist Marcus Strickland and his 2016 album Twi-Life which – surprise, surprise, also included Keyon Harrold and Robert Glasper, this time alongside regular Robert Glasper Trio drummer Chris Dave and a rising star on the skins, Charles Haynes (no relation), who occasionally steps outside of the jazz world to tour with the likes of Lady Gaga and Ed Sheeran.

There were records from two trumpeters on the show this week. First up was the long-established Polish musician Piotr Wojtasik, whose music we continue to play on the show simply because it deserves to be heard as widely as possible. Wojtasik is a star who is not heard anything like as frequently as he should be on UK (and US) radio. All the more inexcusable when he surrounds himself (as here) with musicians of the calibre of Gary Bartz, Vincent Herring, Billy Harper, George Cables, Reggie Workman and Billy Hart. Yes – all appear on this album! As always, you can track it down at the ever-reliable Steve’s Jazz Sounds.

Much more celebrated is US trumpeter Ambrose Akinmusire who, on his album When the Heart Emerges Glistening, did not surround himself with a bunch of starry sidemen but rather introduced a complete band – and it feels like it too. Although piano star Jason Moran (he of the Charles Lloyd New Quartet) produced the album and appears on a couple of tracks, this album has reflective, sensitive playing throughout from all personnel. Akimusire has continued to plough his own furrow: his 2017 live 2CD collection is as uncompromising as ever with alternately introspective and fiery music that bears extended listening. Like many jazz artists before him, Akinmusire appears to have been inspired by his recording venue – New York’s iconic Village Vanguard.

As often on Cosmic Jazz, we changed the tone with a Brazilian sequence. Singer/songwriter Sabrina Malheiros – daughter of the Azymuth bass player Alex Malheiros – produces cool but joyful samba/ jazz influenced music, and her record Clareia (released on the UK’s Far Out label in 2017) is a wonderful example of the genre. The record was produced in London by Daniel Maunick, son of Incognito founder Bluey Maunick, and a hit (again) at this year’s SingJazz Festival. Malheiros was born in 1979 so she may not now be a young Brazilian voice but she’s certainly the junior of a clear influence on her sound, Joyce Moreno. Here on Cosmic Jazz we admit to something of an infatuation with Joyce’s music. And – by the way – it’s not that which allows first name familiarity: in the tradition of her compatriots (Ceu, Cibelle and Simone), Joyce has gone by her first name since her earliest recordings. Born in 1948, her classic album Clareana was released a year after Sabrina Malheiros was born and she has continued recording for Far Out since the 1990s. The tune this week came from one of her more recent recordings for the label, the excellent Raiz. All of her work is highly recommended and there is a fine Mr Bongo compilation available to introduce her earlier music. To end our Brazilian sequence we featured another Brazilian veteran – singer/songwriter/guitarist Jorge Ben, master of an afrosamba style that has influenced many more contemporary Brazilian artists. Boiadero comes from one of Ben’s more disco-influenced albums (check the cover!) but is still a great tune. Check out an interesting Ben meets Fela with rap track in Neil’s listening choices (below) and for more Jorge Ben, new listeners should go straight to a mid70s classic, simply called Ben. It features two of his most enduring compositions Taj Mahal and Fio Marahvila, a musical ode to the 1970s star of the Brazilian soccer team Flamengo.

To end the show this week, it was back to the USA and another favourite. Jazzmeia Horn is a young singer born in Dallas, Texas but now  based in New York. She won the Thelonious Monk Institute International Jazz Competition in 2015 and her excellent first album A Social Call emerged last year. It may be a record of jazz standards, but it is how Horn – ably supported by some superb musicians – transformed these tunes that made this album a real 2017 highlight.

  1. Otis Brown III – Stages of Thought from The Thought Of You
  2. Marcus Strickland’s Twi-Life – Mirrors from Nihil Novi
  3. Piotr Wojtasik – Escape Part 3 from We Want to Give Thanks
  4. Ambrose Akinmusire – Confessions to My Unborn Daughter from When the Heart Emerges Glistening
  5. Sabrina Malheiros – Celebrar from Clareia
  6. Joyce Moreno – Desafinado/Aquarela do Brasil from Raiz
  7. Jorge Ben – Boiadero from Salve Simpatia
  8. Jazzmeia Horn – Lift Every Voice and Sing/Moanin’ from A Social Call

Derek is listening to:

Neil is listening to…

Week ending 24 February 2018: saxophone sessions

This week’s show has a very different feel from last week’s deep jazz sounds. We began with a new discovery from Brazilian master Hermeto Pascoal and the lost Vice Versa studio sessions. The track is Casinha Pequenina – all 26 minutes of it. Recorded in Sao Paulo in just two days in 1976 and not released until November last year, this is exciting improvised music, most of it recorded in first takes and still unedited. Guitarist Toninho Horta is there but Nivaldo Ornelas on tenor saxophone is one of the highlights too. You can download the whole Far Out Records album from Bandcamp right here or find it at your local independent record store. If you like this, check out the epic Slaves Mass album recorded by Pascoal in the following year and (apparently) noted for the use of squealing pigs as one of the sound effects…

Next up was one of the edits from a new BBE Records release from the Chicago DJ and producer Mark Grusane, but featuring bandleader Choker Campbell who appeared (anonymously) as saxophonist on numerous Motown hits. Campbell was also the writer of Albert Jones’ track Mother Nature, with a string section famously sampled on the title track of one of our favourite rap albums, Common’s ecstatic Be. You can check out the wonderful Be (Intro) here.

Deep jazz is never far away from our playlists and it was a return visit to one of the best compilations from last year – this one featuring baritone sax maestro Hamiett Bluiett on the track Oasis from a Soul Note album from 1981, before heading leftfield once more with more new music. This time, the new artist is Polish/Danish band Beam, led by alto saxophonist Bartosz Czarniecki. The quartet also features Anna Roemer on guitar, Michał Nienadowski on bass and Emil Thorenfeldt on drums.

Trumpeter Marquis Hill made a name for himself in 2017 and he continues to surprise. His latest EP is simply called Meditation Tape and includes some spoken word comments from drummer Marvin ‘Bugalu’ Smith at the end of each track. It’s music to wind down with – whereas Daniel Crawford’s take on Fela’s classic Water get No Enemy is an upbeat way to end the show from his very under-rated jazz/neo-soul album The Awakening.

  1. Hermeto Pascoal/Grupo Vice Versa – Casinha Pequenina from Viajando Como Som/The Lost ’76 Vice-Versa Studio Session
  2. Choker Campbell edit. Mark Grusane – Carioca from The Real Sound of Mark Grusane
  3. Hamiet Bluiett – Oasis from You Need This: an Introduction to Black Saint & Soul Note 1975-1986
  4. Beam – Kerteminde from One
  5. Marquis Hill – Good Morning from Meditation EP
  6. Daniel Crawford – Water No Get Enemy from The Awakening

Neil is listening to…

Derek is listening to…

  1. Ntjam Rosie – Take A Good Look At me
  2. Ntjam Rosie – Never Give Up
  3. Anouar Brahem – Blue Maqams
  4. Nicholas Payton – Afro-Caribbean Mixtape
  5. Havana Meets Kingston feat Solis & Randy Valentine – Candela

Week ending 25 November 2017: analogue sounds

These are good times for jazz in the UK. There are some excellent young musicians around, including the superb quartet led by saxophonist Camilla George who I saw this week. Their pianist Sarah Tandy, who has her own trio, was something else. As a classical pianist, she’s a former BBC Young Musician of the Year but is now getting noticed as an exciting and inventive jazz artist. In performance, she just takes off and goes you cannot predict where when it’s her turn to feature, while still maintaining the level of invention while supporting others. She has been chosen by  eminent jazz critic John Fordham in the current edition of Jazzwise magazine as his musician to look out for in 2018.

Ironically, this week’s CJ doesn’t contain music from any native UK artists but – in compensation – we include many excellent, pioneering musicians from the Americas.

As promised last week, I trawled through my record racks and dug out some I have ignored for a while. As a result, the first tune on the show is from Don Cherry – a world musician long before the term ‘world music’ was used as an understandable way to find music in record shops. This comes from the celebrated Mu albums, recorded on the Actuel/BYG label in Paris in 1969.  Here Don Cherry and Ed Blackwell play as a duo with Cherry on flute and Blackwell on percussion. Cherry continued his explorations of music influenced by middle eastern, traditional African and Indian musics and between 1978-82 he recorded the three Codona albums for ECM with percussionist Nana Vasconcelos and sitar/tabla player Collin Walcott. These have now been reissued as a 3CD box set – highly recommended if you want to explore this pioneering music.

Kelan Philip Cohran (08 May 1927-28 June 2017) is someone whose death this year we should have acknowledged earlier on the show. His role playing mainly trumpet with the Sun Ra Arkestra from 1969-71 provided him with essential Cosmic Jazz  credentials. This week he is featured playing with the Hypnotic Brass Ensemble,  eight of whose nine members are his sons. Look out for their new album Book of Sound just released on UK Honest Jon’s label.

Reggae in jazz is not new. When record producer Coxsone Dodd  was choosing musicians in Kingston for what became The Skatalites he looked for jazz musicians and chose Don Drummond, Roland Alphonso and Tommy McCook. Cedric im Brooks was another Jamaican musician brought up on jazz whom we have featured here on CJ. It was great, however, to play a 2017 released tune with a reggae-meets-jazz feel to it. Trumpeter Keyon Harrold supplied this with the title tune of his new album The MugicianThere are CJ-friendly musicians on the album including, on this powerful, forceful tune, James Poyser and Marcus Strickland.

Marcus Strickland also appears on the next selection which is complex and full of surprises. It came from the new 2017 Blue Note All Stars who comprise Lionel Loueke, Ambrose Akinmusire, Kendrick Scott, Robert Glasper, Derrick Hodge and Strickland on saxes. Our choice from the album featured two masters from an ealier generation – Wayne Shorter and Herbie Hancock – in a version of Shorter’s tune Masqualero, first heard on the Miles Davis album Sorcerer in 1967.

Two or three weeks ago Neil posted on his current listening selection a collaboration between Chilean musicians  (Newen Afrobeat) and Seun Kuti. DJ and long-established record compiler John Armstrong has now assembled a collection merging Afrobeat with another Latin American country, this time Brazil. Excellent it is too. The Camarao Orchestra, like Newen Afrobeat, show how musicians from one country can draw upon and play successfully the music of another – pretty much what many jazz musicians across the world have done since the music began… And eagle eared listeners may have that nagging feeling that they have heard a version of the riff that appears partway through the wonderful Afoxe – perhaps this link from the previously mentioned Herbie Hancock may help…

To end the show we featured a long track from William Parker released in 2002 with soul/hip hop vocals from Leena Conquest, who lists many causes including Native Americans to Civil Rights leaders. I have tried to track down this album for some time but have just managed to do so via the superb Soundclash Records in Norwich. I will play more.

Finally, a shout out to another excellent record shop, and one selling exclusively vinyl – Bury St Edmunds’ excellent Vinyl Hunter. Along with my MC buddy Derek, this week Cosmic Jazz took to the streets of Bury and presented a set of Caribbean music courtesy of Vinyl Hunter. It’s very encouraging to see a small market town the size of Bury St. Edmunds supporting analogue music and, in its dual role of cafe and record store, the place was heaving yesterday. Business is good too – Vinyl Hunter have recently opened a second store in Elmstead, Essex. It’s interesting that the current vinyl revival is not experiencing the much predicted slowdown. The fascination with the format has been taken up by advertising agencies too – vinyl is seen as not only cool but also authenticHere it is with a Rega Planar turntable taking centre stage in a recent Specsavers advertisement. The music is Lester Bowie’s take on The Great Pretender, the title track from his 1981 ECM album. More convincingly, this is Raphael Saadiq chillin’ out in a loft apartment to his own excellent Movin’ Down the Line (Don’t You Go).

  1. Don Cherry and Ed Blackwell – Omelejo from Mu First Part
  2. Kelan Philip Cohran and The Hypnotic Brass Ensemble – Frankincense and Myrrh from Kelan Philip Cohran and the Hypnotic Brass Ensemble
  3. Keyon Harrold feat. Josh David Barrett – The Mugician from The Mugician
  4. Blue Note All Stars feat. Wayne Shorter and Herbie Hancock – Masqualero from Our Point of View
  5. Camarao Orchestra – Afoxe from John Armstrong presents Afrobeat Brazil
  6. William Parker feat. Leena Conquest – Raining On the Moon from Raining On the Moon

Neil is listening to…

19 July 2017: an all Coltrane show

 

 

 

 

 

 

17 July saw a significant anniversary in jazz – it was exactly 50 years since the death of saxophonist John Coltrane, and so here on Cosmic Jazz we have been celebrating his life and work over the last three weeks. Tonight is our final look at Coltrane’s music – but this time through the interpretation of others.

We began the show with a track featuring the classic Coltrane quartet – Coltrane on tenor saxophone, McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums. Tunji comes from the 1962 album Coltrane and is dedicated to Babatunde Olatunji, the Nigerian percussionist who influenced Coltrane’s music.

CJ then celebrated the influence of Coltrane’s music on other musicians, beginning with one of our most underated British saxophonists Alan Skidmore on a 2CD set recorded live at the Boxford Fleece, here in Suffolk. We chose Skidmore’s take on Resolution, the second part of Coltrane’s most famous composition, A Love Supreme and followed this with a take on Countdown, first recorded by Coltrane on the Giant Steps album of 1960 – a virtual template of jazz standards including the title track, Naima and Mr P.C. The artist was the young Indonesian pianist Joey Alexander, whom we have featured on the show previously. Alexander is something of a phenomenon, having recorded his first album at the age of 11 – titled, My Favourite Things, it featured both this and his treatment of Coltrane’s Giant Steps.

We had to play at least one Pharoah Sanders tune and I chose a live version of Naima, recorded on the Crescent with Love album from 1994. Sanders was, of course, a member of Coltrane’s expanded groups of the mid and late 1960s. He first worked with Coltrane in 1965 on the Ascension album, perhaps the most free of Coltrane’s releases. His albums from the 1970s onwards featured Alice Coltrane. Now 76, Sanders continues to record although mainly as a featured artist on other’s recordings.

Dwight Trible’s rich, deep baritone voice has featured on several recent recordings – including his Living Water album of 2006 which featured a vocal version of one of Coltrane’s most beautiful tunes, Wise One. The track we featured – Dear Lord – is very much in the same tradition. It comes from Trible’s new release on Manchester based Gondwana Records and features Matthew Halsall on trumpet.  We will feature more from this excellent album in future programmes. British tenor player Denys Baptiste is one of a number of jazz musicians who have released albums celebrating the music of John Coltrane in recent months, and Late Trane appears on the excellent Edition Records – our label of the year for 2016. Baptiste is joined by Nikki Yeoh on piano and keys, Gary Crosby on bass and with special guest Steve Williamson on tenor on some tracks, including the beautiful After the Rain.

Nat Birchall’s excellent website indicates his debt to his first love – Jamaican dub. This is significant as Birchall makes clear he was an enthusiastic listener before becoming a musician – sound has always been the first and most important thing about music to me, he says. In this he shares much with John Coltrane who released an album simply called Coltrane’s Sound. Writer Ben Ratcliff refers to Coltrane’s continual search for a sound in his thought-provoking book Coltrane: The Story of a Sound, identifying the restless searching that puzzled so many of those around him. As Ratliff explains in his introduction, the book is about jazz as sound. I mean ‘sound’ as it has long functioned among jazz players, as a mystical term of art: an in, every musician finally needs a sound, a full and sensible embodiment of his artistic personality, such that it can be heard, at best, in a single note.  It’s easy to conclude that we have still not caught up with Coltrane’s journey, even fifty years after his death – something that’s not true now of his contemporary, Miles Davis, whose most out-there music (for example, On the Corner, released in 1972) is now appreciated as a ground-breaking work that has influenced so much modern music from Steve Reich to techno and trance. Much like those who worked with Davis at this time,  Coltrane’s own sidemen in the mid sixties had little idea of what Coltrane was up to. Elvin Jones simply shrugged and said Beats the shit outta me and for many listeners this is still what is often thought of Coltrane’s experiments in sound.

We ended the show with something of a contemporary favourite. Several remixers have tried to put their own stamp on Coltrane’s iconic A Love Supreme – but none have succeeded like Berlin duo Skinnerbox. It’s not easily available anymore as a download, but you can listen to the edited dub version here on Soundcloud. Highly recommended.

Finally, to expand your thinking about John Coltrane and his influence, read this feature from Jazzwise magazine by one of our favourite writers, Kevin le Gendre. Incidentally, he would never make Neil’s elementary mistake on the show of referring to Coltrane as an alto saxophonist – although it is true that ‘trane played alto on some of his earliest recordings as well as his final Japanese tour in 1965…

  1. John Coltrane Quartet – Tunji (alternate take) from Coltrane (Deluxe Edition)
  2. Alan Skidmore Quartet – Resolution from Impressions of John Coltrane
  3. Joey Alexander – Countdown from Countdown
  4. Pharoah Sanders – Naima from Crescent with Love
  5. Dwight Trible – Dear Lord from Inspirations
  6. Denys Baptiste – After the Rain from Late Trane
  7. Nat Birchall – To Be from Invocations
  8. Skinnerbox – A Love Supreme Remix download

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Neil is listening to…

14 June 2017: in a silent way?

Silence is golden, except on a radio show. There is a silence in this show, albeit a short one towards the end. It’s ironic really as I was about to play a tune called He Who Talks Loud Says Nothing… Suffice to say no more than such problems are usually the result of the user rather than the equipment – sorry.  Do listen, though, to the show via the MixCloud tab (left) as there are some great tunes either side of the silence.

The aforementioned He Who Talks Loud Says Nothing did get played – and it is worth hearing. It’s by Polish trumpet/flugelhorn player Lukasz Korybalski from his remarkably mature debut album CMM released this year. It has been described as providing a musical journey into something like a trance. Certainly it has a very warm and inviting feel to it. There are lovely solos, but they are woven almost into the music  – and the backing throughout of drummer Lukasz Zyta is intricate and complex but in an understated way.

As so often on the programme, the show began with a tune that I had recently played and enjoyed. Cosmic Jazz seems to be going through yet another John Coltrane appreciation phase and why should I make apologies for that? 14 minutes and 09 seconds of India recorded live at the Village Vanguard on 03 November 1961, from the Impressions album was just such a perfect spiritual and uplifting way to begin. Coltrane was on soprano, Eric Dolphy on bass clarinet, McCoy Tyner piano, Jimmy Garrison and Reggie Workman on basses and Elvin Jones on drums. I just listen and wonder in amazement that this was recorded so long ago and at its sophistication – especially if you compare it to some of the popular jazz of the time. We’re not alone here: it’s reported that American group the Byrds had only one cassette to listen to on their late 1965 tour and that one side featured Ravi Shankar while the other had Coltrane’s Impressions and the Africa/Brass albums. They acknowledged Coltrane’s influence in their celebrated Eight Miles High. Listen to this extended instrumental version from the 1970 Filmore concert which is powered by Skip Battin’s jazzy basswork and see what you think.

There was what I considered a sequence of tunes that complemented each other and sounded fresh, contemporary with an element of challenge. This began with Steve Lehman and Selebeyone, went into Dinosaur and ended with Led Bib, who have a new album recently released.

Poland holds an annual Jazz Day in April. Bands perform and there is a competition for band of the year. In 2017 the winner of the Grand Prix  was the pianist Adam Jarzmik and his Quintet of musical friends with their 2017 release Euphoria. Among the judges was the Cosmic Jazz favourite Piotr Wojtasik. The award was a good choice. It is a record of strong  emotional sounds, mixing the contemporary with the traditional and embracing a subtle intensity.

There was a trip to Brazil at the end of the show. The voice of Milton Nascimento  interwoven with the soprano sax of Wayne Shorter and the further presence on the record of Herbie Hancock, Raul de Souza and Airto Moreira among others. Finally came Baden Powell, the Brazilian guitarist who named himself after the British founder of the scout movement with a tune that epitomises the delicacy, intimacy and melodic beauty of much Brazilian bossa jazz of the 1960s/early 1970s. The album from which this track comes is something of a rarity. For a further taste, listen to one of my favourite tracks – Coisa No1 – which achieves miracles in just over three minutes…

  1. John Coltrane – India from Impressions
  2. Steve Lehman & Selebeyone – Laamb from Selebeyone
  3. Dinosaur – Living Breathing from Together As One
  4. Led Bib – Battery Power from Jazzwise sampler Babel Label 1994 – 2014
  5. Adam Jarzmik Quintet – Euphoria from Euphoria
  6. Lukasz Korybalski – He Who Talks Loud Says Nothing from CMM
  7. Milton Nascimento – Saidas e Bandeiras (Exits & Flags) from Milton
  8. Baden Powell – Rosa Flor from Swings with Jimmy Pratt

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Neil is listening to…

06 July 2016: feature on the MPS label

gilles peterson 03There’s a special CJ feature on the German jazz label MPS this week. As always, click the MixCloud tab (left) to listen to the show. MPS – Musik Produktion Schwarzwald (Black Forest Music Production) – was Germany’s first jazz only label and included world recognised artists like Oscar Peterson, George Duke, Lee Konitz and Charlie Mariano.

The occasion for this MPS celebration was the release of a compilation entitled Magic Peterson Sunshinecurated by the DJ Gilles Peterson, a long time fan of the label and Cosmic Jazz DJ hero. Of course, MPS recorded music by German musicians and two of these artists were includedgilles peterson mps this week. First up was Gunter Hampel and his Quintet: Hampel was a versatile musician who played vibraphone, soprano saxophone, bass clarinet and flute. His aim was to create a European jazz sound that moved away from the dominance of the USA. Pianist George Gruntz was an internationalist – notable musicians on our choice Nemeit include Sahib Shihab from the US, Jean-Luc Ponty from France and Eberhard Weber from Germany as well as an ensemble of North African percussionists. Gruntz produced a series of albums for MPS under the heading of Jazz Meets the World. 

One of those US artists recorded by MPS was Mary Lou Williamsmary lou williams black christ of the andes who first released her version of the Gershwin standard It Ain’t Necessarily So on her own label in 1964 on the highly recommended album Black Christ of the Andes. We have featured a track from this release before on Cosmic Jazz (Miss D. D.), but Magic Peterson Sunshine gave us the chance to play music from this superb album again. Black Christ of the Andes can now be found on the Smithsonian Folkways label. For an example of Williams’ unique style at the piano have a look at a live performance of two original numbers – Dirge Blues and Waltz Boogie.

It’s great when you discover a wonderful piece of music that you 0004367745_350have had in your collection but has been unjustly neglected. That happened to me this week when, finally, I played Old Land – the title track of an album by Polish trumpeter Piotr Woktasik, a musician who has played with Cosmic Jazz favourites such as Gary Bartz and Kenny Garrett.  Old Land has an international cast, including the late Billy Hart on drums. This is inspiring and uplifting music featuring both instruments and voices and the album is one of the many treasures that can be found at East European and Scandinavian jazz specialist stevesjazzsounds.co.uk. Billy Hart is a contemporary of Jack deJohnette, one of our favourite drummers on CJ. He’s played with played many of the greatest names in jazz – here he is with Joe Henderson and Woody Shaw at the Kongsberg Jazz Festival in 1987.

running refugee songBut we started the show with a tune supplied by Neil. Running (Refugee Song) – written by trumpeter Keyon Harrold – features Gregory Porter and the rapper Common in music with a clear and direct message. It was released last month in honour of World Refugee Day, and is the first composition from a new venture called Compositions for a Cause – a collaboration of musicians Kenyon Harrold and Andrea Pizziconi. The song can be downloaded from refugeesong.com for a donation and is now available on iTunes for $1.99. Proceeds go to some of the world’s biggest refugee-oriented groups, including Refugees International, Human Rights First and the International Rescue Committee. Watch the moving video, listen again and (as we did) donate to this new project.
otis brown iii the thought of youThere was a link to the next tune – Harrold also plays on one of our playlist regulars from Otis Brown III. The Way (Truth & Life) is one of those tough, heavy contemporary-sounding New York jazz tunes that we love so much here on Cosmic Jazz. Two weeks ago I inadvertently mixed the title track of Thomas Stronen’s album Time is a Blind Guide with something else. Music as good as this deserves a proper hearing so we featured it again in full on this week’s show.

Dele SosimiThe show ended with a taste of Afrobeat artist Dele Sosimi, who played with Fela Kuti and again this year appears at a free festival in Christchurch Park, Ipswich (the town where this show is recorded) on Saturday 09 July 2016. Sosimi was a real highlight of last year’s festival – so it’s a gig highly recommended if you’re in the area. This year, though, I am off to the People’s Festival in Lewisham for some reggae… For an introduction to the relationship between afrobeat and the UK dance scene phenomenon of afrobeats (together with some great footage of Fela Kuti) check out this video.

  1. Gregory Porter/Common – Running (Refugee Song)  from download
  2. Otis Brown III – The Way (Truth & Life) from The Thought of You
  3. Piotr Wojtasik – Old Land from Old Land
  4. Gunter Hampel Quintet – Our Chant from Magic Peterson Sunshine
  5. George Gruntz – Nemeit from Magic Peterson Sunshine
  6. Mary Lou Williams – It Ain’t Necessarily So from Magic Peterson Sunshine
  7. Thomas Stronen – Time is a Blind Guide from Time is a Blind Guide
  8. Dele Sosimi – You No Fit Touch Am from You No Fit Touch Am

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Derek is listening to:

Neil is listening to…

New recommended site – UK vibe


nat-birchall_ukvibe_01Cosmic Jazz
has always had a sidebar list of recommended sites – and it’s time to add a new one to the list. UK Vibe has just uploaded an excellent review of the new Nat Birchall release Invocations but the site is home to some great in-depth features too.

Particularly recommended is the extended (and I really mean extended) piece on Keith Jarrett at 70. Read it and check out the videos too. If you’re not yet convinced by Jarrett, have a look and listen to his live reading of the classic God Bless the Child  performed here with his Standards Trio – Gary Peacock on bass and Jack de Johnette on drums.