Tracks played 10 May, 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:

  • Fried Bananas by Dexter Gordon from the album Sophisticated Giant, 1977
  • Darn that Dream by the Hank Jones Trio feat. Joe Wilder from the album Such A Beautiful Sound, 2013
  • I Thought about You by Emy Tseng from the album Sonho, 2012
  • Pauletta by Bob Berg from the album New Birth, 2016
  • Smokey Little Fire by the Marek Jakubowski Trio from the album Patient & Stubborn, 2014
  • At Last by the Gene Harris /Scott Hamilton Quintet from the album by the same name, 1990
  • Textures by the Peter Zak Quartet from the album One Mind, 2018
  • Fly Me to the Moon by Diana Krall from the album A Night in Paris, 2002
  • Jumpin’ with Symphony Sid by Dizzy Gillespie from The Complete RCA Victor Recordings, 1995
  • I Could have Danced all Night / Won’t Dance by The Diva Jazz Trio from the album Never Never Land, 2009
  • Chorinho Triangular by Paul Booth from the album Trilateral, 2012
  • If You Could See Me Now by the Janice Borla Group from the album Promises to Burn, 2014
  • Begin to be Good by Chucho Valdes from the album Chucho’s Steps, 2010
  • Jozetta by Dominic Galea’s London Quintet from the album by the same name, 2016
  • Plan B by Jure Pukl & Matija Dedic from the album Hybrid, 2017

Louis who?

I recently picked up the album Here Comes Louis Smith on the Blue Note label. I did not do my usual thing of checking the album out first before ordering. I also had no idea who Louis Smith was (he died in 2016) or how I even came to be looking at the album in the first place. Having heard the album through a couple of times I have to ask: why I have I not heard of this trumpet player from Tennessee before?

Blue Note 52438

Here Comes Louis Smith was his debut album recorded in 1957 – it had originally been recorded for the Transition label but the company went out of business shortly afterwards and before the recording could be released in the spring of ’58. The album masters were acquired by Blue Note producer Alfred Lion. Louis had a stellar supporting group alongside him with Buckshot La Funke (Cannonball Adderley was signed to the Mercury label at the time so used a pseudonym) on alto sax. Duke Jordan and Tommy Flanagan shared piano duties with Doug Watkins on bass and drummer Art Taylor completing the rhythm section.

The album features four Louis Smith compositions and one tune each from Duke Pearson and Hoagy Carmichael. The Duke Pearson number, “Tribute to Brownie, opens the album with the drums of Art Taylor before Louis Smith comes in with a beautiful clear bop sound. If the opener does not grab your attention then go no further but, in my opinion, the rest of the album does not disappoint and is worthy of a hearing.

Of the four original compositions two are very well executed blues numbers: track 2 – “Brill’s Blues” and track 6 “Val’s Blues”. In fact track 2 features some really nice alto playing from Cannonball Adderley. Tracks 3 (“Ande”) and 5 (“South Side”) are good but it is “South Side” that stands out for me for both the group playing and the solo playing from Smith and Adderley. That leaves just one track to talk about, Hoagy Carmichaels “Star Dust”.

Carmichael wrote “Star Dust” in 1927 and it when on to become a standard that would be recorded by so many of the great and good in jazz music. On this version it is Smith’s solo trumpet work that stands out. The playing has a “haunting” quality to it that just makes everything around the listener disappear leaving only the sound of the trumpet to focus on.

[Those around Smith] make for a potent supporting cast, but the focus is mostly on the criminally obscure Louis Smith. After cutting his second Blue Note set and switching to teaching, Smith would not record again as a leader until 1978. All bop and ’50s jazz fans are strongly advised to pick up this CD ….

AllMusic Review by Scott Yano

As I wrote at the beginning of this piece, I have no idea how I came to be looking at this album in the first place but something must have prompted me to do so. I do have to agree with Mr Yano, Louis Smith is a “criminally obscure” artist whose music deserves to be played and heard.

Tracks played 1 March, 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:

  • Knocking at the Famous Door by Charlie Barnet from the album Clap Hands Here Comes Charlie, a Jazz Greats Magazine compilation #071
  • A Porter’s Love Song to A Chambermaid by George Melly from the album The Best of George Melly, 1994
  • Satin Doll by The Jean-Michel Pilc Trio from the album New Dreams, 2007
  • U.M.M.G. by Joe Henderson from the album Lush Life: The Music of Billy Strayhorn, 1992
  • Puttin’ on the Ritz by George Melly from the album The Best of George Melly, 1994
  • Santini Theme by The Matt Wates Sextet from the album Plum Lane, 2006
  • Italian Concerto: Allegro by The Jacques Loussier Trio from the album Jacques Loussier Plays Bach, 1993
  • Wrap Your Troubles in Dreams from the album The Best of George Melly, 1994
  • Walkin’ by Gordon Goodwin’s Little Phat Band from the album An Elusive Man, 2016

Tracks played 22 February, 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:

  • Estrado Do Sol by Kaz Simmons from the album Different Smile, 2007
  • Flourette Africaine (Little African Flower) by Gary Burton, Pat Metheny, Steve Swallow, Antonio Sanchez from the album Quartet Live, 2009
  • Things Ain’t What They Used to Be by Dr John from the album Duke Elegant, 2000
  • Oh Babe Maybe Some Day by Duke Ellington & His Orchestra from the album Duke Ellington Presents Ivie Anderson, 2010
  • Johnny Come Lately by The John Hallam Jazztet from the album Kaleidoscope, 2002
  • Take The A Train by Charlie Watts and the Tentet from the album Watts at Scott’s, 2004
  • Takes Two to Tango by Ray Charles & Betty Carter from the album Ray Charles & Betty Carter, 1961
  • Strode Rode by Sonny Rollins from the album Saxophone Colossus, 1956

Goodbye and hello to Jazz Journal

Jazz Journal in print 1946 – 2018

As a subscriber to Jazz Journal it was sadness that I read that the December, 2018 edition of the magazine was to be the last it would seen in its printed format. I looked forward to receiving my copy each month through the post and reading what editor Mark Gilbert had decided was important enough in the world of jazz to be published.

I always started my monthly read with “From the editor”, an often acerbic comment on the latest jazz related musings, before moving on to “One sweet letter”. This section was where the readers of Jazz Journal got to have their say about the current state of jazz; errors made regarding the name of the second trombonist in a big band event in Aberystwyth in 1962; or whether or not the star rating system is/is not fit for purpose.

In the February, 2019 edition of Jazzwise magazine the following was written in a piece about the closure of the Jazz Journal print edition:

Arguably at its peak from the late 1950s until the 1970s, Jazz Journal increasingly appealed to to the older, more mainstream jazz fan with writing and design aimed clearly at that market.

Jazzwise magazine, February 2019, p10

This may well be true and, in part, a contributory factor in the decision to move from print to online presence, but it is also interesting just how many times both Jazzwise and Jazz Journal covered the same artists, well established or new and upcoming, in articles about the musicians who form the jazz scene.

One area where the two magazines varied significantly was in that of album reviews. Jazz Journal is more “mainstream” in this regard, and that is not a bad thing, while Jazzwise would focus more on newer names to the scene. Both magazines published a critics poll at the end of the year but only one would separate out reissues from new, a bone of contention for many a reader of Jazz Journal.

I will miss the print edition Jazz Journal but welcome the fact that it will still be available as an online publication. I have had a look at and like what I see. I do find it a lot easier to read than Jazzwise’s online version of their print copy and am very much looking forward to being able to access Jazz Journal’s archive when it is made available.

So which of these two monthly editions will I subscribe to in the the future? Well the answer is very simple, both. The two publications are different and each brings something of interest to what is available to fans of jazz music. I like to read about artists from the past, and their music, because they are often referenced to by the artists of today. Jazz Journal does write about “mainstream” jazz and I hope it continues to do so because it still has a relevance today and should be reflected in print, online or otherwise.

Tracks played 11 January 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:

  • The Big Crash from China by Bob Crosby and The Bob Cats from the album The Dixieland Band, a Jazz Greats Magazine compilation #033
  • Birds of a Feather by Carmen McRae from the album Birds Of A Feather, 1958
  • Israel by Miles Davis from the album Birth Of The Cool, 1957
  • Stealing Time by The Nigel Price Organ Trio from the album Heads & Tales, 2018
  • Shake It and Break It by Sam Rimmington And The Barry “Kid” Martyn Ragtime Band Alumni from the album Back To The Sixties, 2003
  • I Was Doing Alright by Mayte Alguacil from the album, Trav’lin Light, 2017
  • Sambop by Cannonball Adderley & The Boss Nova Rio Sextet from the album Cannonball’s Bossa Nova, 1962
  • What a Treat by Walter Lang & Lee Konitz from the album Ashiya, 2007