Tracks played 26 April, 2019

Small hospital radio station big on jazz every Friday 4 ’til 6pm (GMT)

Sounds Like Jazz is a Gosport Hospital Radio production and these are the tracks played on the above date:

  • Jupiter by the Echoes of Ellington Jazz Orchestra from the album Jazz Planets, 2018
  • Giant Steps by John Coltrane from the album of the same title, 1959
  • No Stars (I’m Fancy Free) by Ella Fitzgerald from the album Ella Fitzgerald Sings the Irving Berlin Songbook, 1958
  • Oleo by Miles Davis from the album Miles Davis Live at Olympia, 1960
  • Catch and Release by Nick Hempton from the album of the same name, 2015
  • She Did it Again by Michel Petrucciani from the album The Blue Note Years, 1993
  • East of the Sun (And West of the Moon) by Jazzmeia Horn form the album Social Call, 2017
  • 317 East 32nd St. by Allison Neale from the album I wished on the Moon, 2015
  • Sonny’s Playground by George Coleman from the album A Master Speaks, 2016
  • Pussy Cat Dues by Chris Biscoe from the album Profiles of Mingus, 2010
  • I Won’t Dance by Ella Fitzgerald and Louis Armstrong from the album Ella & Louis Again, 1959
  • Rest Easy by Chris Biscoe & Allison Neale from the album Now & Then, 2015
  • Frenesi by Charlie Sepulveda & The Turnaround from the album Songs For Nat, 2018
  • Leila’s Blues by Gigi Gryce from the album Saying Something, 1960
  • Social Call by Jazzmeia Horn from the album of the same name, 2017
  • Life’s A Ball by Andre Previn from the album 4 to Go!, 1963
  • Waitress Winking by the Andrew Linham Jazz Orchestra from the album Weapons of Mass Distraction, 2016
  • Claudeti by the Duduka Da Fonseca Trio from the album Duduka Da Fonseca Trio Plays Dom Salvador, 2018
  • I’m Going Down by Jazzmeia Horn from the album Social Call, 2017
  • Take Five by the Sachal Studio Orchestra from the album Sound of Asia

Not seeing …

I recently decided not to go and see a very good jazz musician paying tribute to players of the past: why not? To be honest it is all wrapped up with the question as to why small jazz clubs are finding it difficult to attract a wider audience: over familiarity.

When I attend a live gig I expect to hear standards from the jazz repertoire and when I do I enjoy them. However, there does appear to be a trend for bands to play tributes to some of the greats from the past without also throwing in a few original compositions to show that we can, and should, move on from the greats.

I recently reviewed Carlos Henriquez’s album Dizzy Con Clave, which is a live recording of a tribute to the music of Dizzy Gillespie but with new arrangements that refreshes the original and avoids the label “over familiarity” – and you should be able to tell from my review that I really enjoyed this album.

The problem for many small jazz cubs is that they rely on those audience members who turn up each and every month to hear good jazz music played live, good jazz music that they are familiar with. These stalwarts struggle with the unfamiliar – they also struggle with vocalists but that might be a different topic to write about another time – and have been heard to say that they will not be at next month’s gig because they haven’t heard anything by the band that has been booked.

I would suggest that the elusive wider audience may not attend their local jazz club because they are not going to hear anything new and while they accept, and recognize, the place of the jazz standard repertoire, they do not necessarily want to be beholden to it. On Saturday 5 January, 2019 The Times newspaper wrote a piece entitled All That Jazz in which it was stated that, “For the past couple of years London’s new jazz scene has been quietly conquering the world “. Unfortunately for those of us getting our live jazz outside of London, the new jazz scene is passing us by.

There are many very good young jazz artists producing original material that deserves to be heard live by a wider audience. I should love to see the likes of Lorraine Baker, Tom Millar, and Freddie Gavita play live at a jazz club nearer to home than London. I also know that many of those who regularly attend jazz clubs in my area would think twice about paying for a ticket to hear jazz music they did not grow up with and that’s a shame. Let’s face it, if the audience at the time had not embraced the new of Monk, Coltrane, Gillespie et al we would still be listening to Livery Stable Blues and the “new jazz [bop] scene” would have passed us by.