Tag Archives: Edinburgh Jazz Festival

Edinburgh Jazz Festival 2018: Carol Kidd

Carol Kidd, George Square Spiegeltent ****

There was a very strong sense of déjà vu about Saturday night’s concert by Scottish singing star Carol Kidd’s jazz festival concert. As with last year’s performance, it took place in the main Spiegeltent in George Square and she was once more accompanied by a trio headed by pianist Paul Harrison.

As anyone who attended the 40th Anniversary Jazz Gala which launched the Edinburgh Jazz Festival the previous weekend will have observed, the 2018 Carol Kidd is at the top of her game again. At that all-star concert, the pixie-ish singer stole the show with a couple of heartbreakingly moving ballads – new additions to her repertoire – and she repeated those triumphs at her own gig, threatening to reduce listeners to blubbering wrecks with her perfect, crystal-clear renditions of Billy Joel’s And So It Goes and Rodgers and Hammerstein’s Something Wonderful (from The King and I). She made every note, and every word matter – and she had her rapt audience hanging on every syllable.

The other stand-out ballad was an old Harold Arlen-Yip Harburg favourite, Happiness Is Just a Thing Called Joe, which Kidd sang so exquisitely that the effect was spine-tingling. On this, as with the afore-mentioned new ballads, she was accompanied – though perhaps not always to her best advantage – by just Paul Harrison.

Less satsifying were the numbers which featured the full line-up; a line-up which, as last year, sounded like it would benefit from the addition of a guitar for a warmer, less dry sound. That said, le tout ensemble sounded terrific on the R&B song You Don’t Know Me which opened the show, and on a dramatically executed I Think It’s Going to Rain Today.

Advertisements

Leave a comment

Filed under Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2018: The New Wave of Scottish Jazz

The New Wave of Scottish Jazz, Teviot Row ****

Teviot Row, this year’s base camp for the Edinburgh Jazz Festival, was the scene for a show featuring the festival’s pick of the jazz talent that has recently erupted out of Glasgow. But it will be a testament to their youth if the musicians who performed didn’t feel like stretcher cases after their appearances on the stage in the airless auditorium – usually the university’s debating hall – on Saturday night. The heat was unbearable, the atmosphere sticky and suffocating; all the moreso because there was no break until 80 minutes into the concert.

This didn’t seem to bother the dazzling young pianist Fergus McCreadie whose talent and trio were the main focal point of that long first half, and who electrified the audience with a series of atmospheric numbers which recalled the style of the American pianist-composer Dave Grusin.

Like the Mark Hendry Octet, which played rich, multi-layered pieces after the break (and was listened to, by the casualties of the first half, from the bar), this was original, contemporary material very much catering to a specific jazz sensibility.

Much more accessible were singer Luca Manning’s trio of songs, accompanied by ace pianist Alan Benzie, which kicked off the proceedings. Manning’s breathy, vaguely Chet Bakerish, vocals combined with his evocative way of telling a story were especially well showcased in the Steve Swallow song City of Dallas.

  • First published in The Scotsman, Monday July 16th

Leave a comment

Filed under Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Fest Memories: Forrie Cairns

Edinburgh Jazz Festival archive - Recordbreaker photo

Forrie Cairns (third from left in front row), with Jim Galloway (centre, on soprano sax) playing When the Saints Go Marching In at the Edinburgh Jazz Festival’s Guinness Book of Records attempt at biggest ever jazz band. This was just, says Forrie, one section of the band!

One-time member of the Clyde Valley Stompers and a fixture on the Scottish jazz scene from the 1950s onwards, Glasgow-born clarinettist Forrie Cairns enjoyed the Edinburgh Jazz Festival as both a player and a listener. He says:

“I was working virtually non-stop in Switzerland for the first 30 years of the jazz festival. But on the odd occasion when I took part in it (I think four altogether), what always excited me was the way Mike Hart (before it became more of committee-run event) managed to arrange those great afternoon Pub Trail gigs and the ones in the Festival Club with all the unusual line-ups comprising the musicians from the various visiting bands.

“For example, in the mid- 1980’s I came over for week with Bob Wallis and although I worked each night with Bob at various venues, I found myself one afternoon duetting with John Crocker, the sax/ clarinet player from the Chris Barber Band. It was great fun.

“That same year gave me the unique opportunity one other afternoon of listening for one hour to the two wonderful horns of Warren Vaché and Spanky Davis, the resident horn man at Jimmy Ryan’s Club in New York. Two quite different styles and two musicians at their peak, not attempting to blow each other off the stand, but rather complementing each other in quite superb fashion. Those musicians who crowded into the Festival Club that day were so lucky. That was the Edinburgh Festival at its best.”

Warren Vache & Spanky Davis, 1985 2

Warren Vache & Spanky Davis with Kenny Ellis (bass), Festival Club, 1985

Next: Alison Kerr

Leave a comment

Filed under Edinburgh Jazz Festival 40th Anniversary, Uncategorized

Happy 90th, Bob Wilber!

Bob Wilber, Ed Jazz Fest 1992It’s soprano saxophonist extraordinaire Bob Wilber’s 90th birthday today. I’ve been lucky enough to hear him playing on quite a few occasions over the years – the first time was in August 1992 (when the above photo was taken), when I interrupted my year in Paris to come back for the Edinburgh Jazz Festival, largely because I couldn’t bear to miss hearing him and clarinettist Kenny Davern together – the first chance I had ever had to hear these two titans of classic jazz playing together live.

Three years later, as a fledgling freelance journalist writing for The Herald, I sent myself up north to review concerts by Davern and Wilber, on consecutive nights in neighbouring towns. The night after Davern played his gig at the Eden Court Theatre in Inverness, Wilber performed at – of all places – the Parkdean Holiday Park in Nairn. (This turned out to be a suitably surreal introduction for me to Nairn Jazz and the wonderful world of the much-missed jazz promoter Ken Ramage.)

Never without my clunky Sony Professional tape recorder in those days, I interviewed both Davern and Wilber about the event that would become the most eagerly anticipated gig in my calendar for that summer – a reunion of the full Soprano Summit line-up (living members anyway!), to take place at that year’s Edinburgh Jazz Festival.

Soprano Summit was a hugely successful band in the 1970s which, despite – or possibly because of – its lamentably short lifetime (six years), became legendary. Its albums became collectors’ items almost as soon as they were issued. Its conception – at a “jazz party” – organised by enthusiast Dick Gibson over a holiday weekend in September 1972 – became a tale that clarinettist Davern and fellow founding father, saxophonist and clarinettist Wilber, enjoyed telling. Here’s how it was told to me, in the summer of 1995 …

By day three of the party, audiences were suffering from ear fatigue and Gibson decided that he needed something to wake everyone up. According to Davern, Gibson turned to Wilber and said, in his Alabama drawl, “Now, I wan’ you and Kinny to get together and play a duet.”

The two, who had rarely performed together, quickly talked through a head arrangement of Duke Ellington’s moody and magnificent The Mooche for two soprano saxophones – a combination, amazingly, never before used in a working jazz band.

“We got a rhythm section together,” explained Wilber, “by a fluke Dick Hyman, Bucky Pizzarelli, Bobby Rosengarden and Milt Hinton were all there – and we got up and did the number.” Davern continued: “We finished it off on two high notes in thirds, and to our amazement people just rose up in applause – 650 folks just screaming with delight – and it was then that we realised that we had something different.”

In December 1972, the infant Soprano Summit cut its first album; the only difference in personnel being that the busy bassist Milt Hinton was replaced by George Duvivier.

Then, after a second LP, the second incarnation of Soprano Summit was born. The main reason for change was an economic one: as a six-piece band, Soprano Summit was an expensive package. The band also wanted to travel light, so the piano had to go.

Rhythm guitarist and singer Marty Grosz was signed up to replace Pizzarelli, who was tied up with studio work. Grosz shared with Wilber and Davern a love of tunes which were off the beaten standard track. Indeed, Soprano Summit’s basic ground plan was to be different and to make a feature of the fact that this was a working band with a varied working repertoire. In Grosz, they also had “a marvellous player who lent the band an entertainment factor with his singing and clowning.”

Davern added: “That was the basic sound of the group – two sopranos, or clarinet and soprano, and the guitar held it together like glue.”

The guitar was the icing on an already rather tasty cake, because the essence of Soprano Summit was the relationship between its two frontmen. Davern put it down to the fact that they grew up on the same music, but both have their own views on how it should be played.

“Our differences lie in how to approach the godhead, so to speak. We’re all descendants of classic jazz. Bob has his idea of how it should be interpreted and I have mine. But together, it works.”

In a typical Soprano Summit number they bounced the melody backwards and forwards between them like a football, with one taking a step back to play the obbligato and create a space for the other to lead the way with a solo. There was always a balance between the arranged and the spontaneous, though one sensed that much of the arranging was going on as they played.

As Wilber said: “A lot of it is intuitive. We find out what works by trying it, and then incorporate it into our repertoire.”

Their intuition about one another’s direction also meant that they complemented each other’s playing. Davern observed: “Sometimes when the two of us play two notes, you can hear a third note present – a harmonic that suddenly appears, a richness.”

That Edinburgh Jazz Festival reunion turned out to be the only time I ever heard Soprano Summit live, but thankfully there were many more opportunities to hear both Wilber and Davern over the next couple of decades. Davern died in 2006, but Wilber remains active – I last heard him at the Norwich Jazz Party in 2014 when he was on terrific form, serving up deliciously unexpected harmonies and swinging with as much joie-de-vivre as those first times I heard him, more than 20 years earlier.BW 2

 

 

 

Leave a comment

Filed under Profiles, Uncategorized

Edinburgh Jazz Festival 2017: Brian Kellock Meets the Ear Regulars

The concert I enjoyed most at the Edinburgh Jazz Festival was one I wasn’t reviewing for a newspaper – so, instead of taking notes, I took photos (just on my phone) of the first-ever encounter between top UK pianist Brian Kellock and two of the most regular members of the band that plays weekly at the Ear Inn in New York City – Jon-Erik Kellso (cornet) and Scott Robinson (clarinet & saxophone). They were joined by Dave Blenkhorn (guitar) and Roy Percy (bass). Scroll down beyond the slideshow for the set list …

This slideshow requires JavaScript.

Brian Kellock (piano), Jon-Erik Kellso (cornet), Scott Robinson (clarinet, saxophone), David Blenkhorn (guitar) & Roy Percy (bass) at the Piccolo George Square on Monday July 17th, 2017

Hindustan

Tishimingo Blues

Between the Devil and the Deep Blue Sea

I Guess I’ll Have to Change My Plans

Some of These Days

I’m Puttin’ All My Eggs in One Basket

Gee Baby Ain’t I Good To You

Lady Be Good

I Got a Right To Sing the Blues

Running’ Wild

Creole Love Call (encore)

3 Comments

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Ryan Quigley Quintet

Ryan Quigley Quintet Plays Dizzy Gillespie and Charlie Parker, Rose Theatre *****
 
Sunday afternoon’s concert by the Ryan Quigley Quintet could not have been better timed. By the closing weekend of the festival, jazz lag is inevitable – and the depressing weather didn’t exactly make venturing out to a gig seem like an appealing prospect. However, the music of Dizzy Gillespie and Charlie Parker, played by the dynamic band headed by trumpeter Ryan Quigley, proved to be the perfect antidote; just what was required to blast the cobwebs away. 
 
For 90 minutes, this terrific quintet powered through the bebop repertoire, barely pausing for breath between numbers or coming up for air from their energetic solos. This was thrilling, edge-of-your-seat stuff – not least because of the excitement generated by the combination of Quigley and alto saxophonist Soweto Kinch in the front line, playing together for the first time in a decade and clearly getting a kick out of doing so. 
 
Even the ballads were energetic. Introducing All The Things You Are after telling the crowd that the opener, Dizzy Atmosphere, had perhaps been too fast, the wry Quigley promised to slow things down – only to produce a ballad so exciting that it induced whoops from the audience midway through. 
 
It wasn’t just the hot, fiery and flamboyant horn playing of Quigley and Kinch that worked the crowd into a frenzy in this rafters-raising concert; the rhythm section – Alan Benzie (piano), Mario Caribe (bass) and Alyn Cosker (drums) was superb as well; Benzie in particular making an impression with his dazzlingly inventive, witty and sophisticated soloing. In all, the ideal high note with which to end the festival.
 
* First published in The Herald on Tuesday July 25th

1 Comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Alison Affleck’s Copper Cats

Alison Affleck’s Copper Cats, George Square Spiegeltent ****

“And Now For Something Completely Different” could have been the title of the early evening concert given by Alison Affleck’s Copper Cats on Friday. Unlike any other gig in the jazz festival programme, this hour-long show drew almost exclusively from the early jazz and blues era – and did so from a woman’s point of view, giving a rare airing to songs by such pioneering women as Bessie Smith and Ma Rainey. Leading the charge on Friday and shaking the dust off the early jazz repertoire was Edinburgh-based American singer Alison Affleck, whose informative and sassy introductions to the songs ensured that the audience was receptive and entertained even before she began singing. 
 
Despite her fairly stylised, slightly theatrical mannerisms, Affleck brought an authenticity to such ancient numbers as Downhearted Blues and A Good Man is Hard To Find. Her natural American accent played a big part in this, along with an obvious inclination towards blues-singing. But where she particularly excelled on Friday was as a musical storyteller. St James Infirmary and The Black-Eyed Blues were stand-outs because Affleck didn’t just churn out the lyrics; she used them to bring the characters mentioned in these songs to life, and to create atmosphere and drama. 
 
Of course, she couldn’t have done all this as enjoyably without a good band playing with her; her piano-less quintet – boasting the crack team of Colin Steele (trumpet) and Dick Lee (clarinet) – did a terrific job of keeping the music swinging in suitably hot style.
 
* First published in The Scotsman on Monday July 24th

Leave a comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized