The Other Side of the Rainbow is in Wakefield

On Friday Wakefield Jazz hosts 'the Other Side of the Rainbow' the songs of Duncan Lamont. Duncan is a renowned saxophonist, having played with many of the greats, Frank Sinatra, Benny Goodman and Count Basie to name but three. In between the touring and playing Duncan has also amassed a large collection of songs he has written and has a Grammy nomination under his belt, on Friday a selection of these songs will be performed by two singers, Esther Bennett and Beverley Beirne with John Crawford on Piano, Simon Read on Bass, Matt Parkinson on Drums and of course Duncan Lamont on Sax.

Esther has been touring these songs with Duncan at all the major clubs in the south, with singers Sarah Moule, Tina May and Beverley Beirne.

 

 

I caught up with Esther for a chat:

MBS - When did you first come across the music of Duncan Lamont?

EB - I knew who Duncan was, but first met him properly at the 606 Jazz Club properly to talk to.

 

MBS - What draws you to Duncan's  songs?

EB - The words, that cover all of life's experience. The craftsmen ship of the harmonies and melodic lines, the fact that they cover every area of the jazz canon. I often wish to cover certain aspects of the jazz repertoire i.e covering songs from "Kind of Blue" or learning more songs written by Jobim - Duncan covers these areas/feels/flavours in his songwriting - so as well as representing any patricluar aspect of the jazz repertoire one is also singing an original.

 

MBS - It's unique to have more than one singer on a project, what inspired this idea?

EB - Duncan likes as many singers to perform his songs as possible. There are also different songs that attract different personalities and life experiences so the other singer will be able to do the songs that I don't think appeal to or represent my experiences.

I think that this also makes the whole gig more interesting - variety being the spice of life etc.

There's also the practical angle ie admin wise where you have another pair of hands to get gigs and promote them and bring in an audience.

 

MBS - How long has the project been going on?

EB - About 3-4 years.

 

MBS - How did you meet Beverley?

EB - Through you! and through facebook, which has it's negative sides but - can also prove to be incredibly useful for all kinds of reasons.

In fact it was through a negative experience on fb that we met - you were defending singers where a rather offensive but not particularly professional musician was being abusive about us. I then found out that your wife was a singer and that you were based in Leeds and I thought - ah - if I'm sourcing gigs up north it would be sensible, for all sorts of reasons, to combine with this very talented lady.

 

 

 

MBS - Have you any other gigs in Yorkshire?

EB - Yes - we're performing at The Ilkley Jazz Festival! As I'm sure you know! 

There are some "maybes" but it's not sensible to mention them until they are confirmed.

 

MBS - What else is on the horizon?

EB - Other gigs in London with Tina May (606 Jazz Club, Pizza Express Dean St and Music in the Garden at Wavendon and my own Birthday gig at The Vortex London where I will be doing other material that I have been working on and some numbers from my CD "Just in Time" which was produced by Ian Shaw

 

MBS - Do you like Marmalade.

EB - Yes I do - chunky cut

 

For more information please check out the Wakefield Jazz website

http://www.wakefieldjazz.org/bands.htm

A track of one of Duncan's songs sung by Esther Bennett
https://soundcloud.com/ilkley-jazz/i-didnt-know-you-at-all

A live track of one of Duncan's Songs sung by Beverley Beirne 

https://soundcloud.com/beirnesmith/the-darker-side-of-the-rainbow?in=beirnesmith/sets/Wildman

 

Mark

Autumn Winter Season in Leeds

The Season has started again! Here is the first of our listings in and around Leeds...
If you know of any other venues and clubs please let us know!
Jazz in Leeds (Seven Jazz) - Autumn/Winter Programme
Seven Jazz in Chapel Allerton Leeds have announced their Autumn/Winter programme which starts off with the Chapel Allerton Festival Jazz Sunday on 31 August in Regent Street and runs through to the Christmas Party at Inkwell on Sunday afternoon 21 December with the Nicola Farnon Trio
2014 marks the seventh anniversary of Seven Jazz – the club started on the 30 September 2007. Seven Jazz now run international fortnightly concerts on Thursdays at Seven Arts and weekly showcase events for local bands at both Seven Arts and Inkwell, along with two fortnightly jazz workshops for musicians and a jazz choir. Since 2007 Seven Jazz (which is run by volunteers) has run over 500 gigs. In 2015 will embark on yet another venture, the Leeds Jazz Festival

The Leeds International Jazz Concert series at Seven Arts includes appearances from the Nigel Price trio with Alex Garnett (our Seventh Anniversary party) on Thursday evening Oct 2nd, a rare appearance from one of the finest jazz pianists in the world, Enrico Pieranunzi with his trio on Thursday evening Oct 16, the first performance of Indo Jazz saxman Jesse Bannister’s new band “Play Out” that features pianist Zoe Rahman on Thursday evening Nov 6, a rare Leeds appearance by Julian Siegel /Phil Robson’s band “ on Partisans” on Thursday evening Nov 20th and finally the legendary Stan Sultzmann with his band “Neon” on Thursday evening 4 December.

The Sunday afternoon showcase gigs feature international rising stars too - the likes of saxman Dan Shout from South Africa, guitarist Steve Buckley with “Wagon Train” (Steve was the first musician to appear at Seven Jazz in 2007 so it is good to see him back), the legendary Leeds improv pianist Matt Bourne in a trio setting with Gary Jackson on bass and Sam Hobbs on drums, the “Eyes Shut Tight” Trio and Sam Gardner’s “Samadhi” featuring top Polish saxman Krzysztof Urbanski and Dutch based pianist Dominic J Marshall – also the last gigs Sam will do in Leeds before moving to London Details of all of the gigs can be found on the Seven Jazz website www.sevenjazz.co.uk and are listed below. The evening international concert series start at 8.30pm, and the Sunday afternoon showcase gigs run between 1 and 4pm; ticket prices are detailed on the website; evening gigs are typically £16/14 concessions with a £5 standby ticket for full time students, Sunday lunchtime gigs are £7/5 concessions.

International Evening Jazz Concert Series at Seven Arts :
Thursday evening Oct 2 Nigel Price trio with Alex Garnett: 8.30pm @Seven Arts £16/14
Thursday evening Oct 16 Enrico Pieranunzi trio: 8.30pm @Seven Arts £16/14
Thursday evening Nov 6: Jesse Bannister’s “Play Out” – 8.30pm @Seven Arts £16/14
Thursday evening Nov 20 : “Partisans” 8.30pm @Seven Arts £16/14
Thursday evening Dec 4 : “Neon” Quartet 8.30pm @Seven Arts £16/14


Showcase Jazz gigs in Chapel Allerton
Thurs evening 4 Sept: Jazz Concert to launch the National Centre for Race Walking sports charity 8.30pm @Seven Arts £10/8
Jean Watson’s Jazz Collective, the JoeLuca Ensemble and Will Powell’s “Short Stories”: 



Sunday afternoon 14 Sept: Ros Lewis and friends – 1.30pm @Inkwell £7/5
Sunday afternoon 21 Sept: Dan Shout+Martin Longhawn trio –1.30pm Seven Arts £7/5
Sunday afternoon 28 Sept: Paul Edis Sextet -1.30pm @Seven Arts £7/5
Sunday afternoon 5 Oct: Matt Parkinson Quintet@Inkwell £7/5
Sunday afternoon 12 Oct: “The Jazz Worriers” 1.30pm @Seven Arts £7/5
https://soundcloud.com/yates-neil/skylark

Sunday afternoon 19 Oct: Steve Buckley’s 'The Wagon Train' -1.30pm @Inkwell £7/5
Sun afternoon 26 Oct: Matt Bourne, Gary Jackson, Sam Hobbs - 1.30pm @Seven Arts Sunday afternoon 2 Nov: Nicki Allan/Rod Mason quartet - 1.30pm @Inkwell £7/5
Sunday afternoon 9 Nov: “Eyes Shut Tight” - 1.30pm @Seven Arts £7/5
Sunday afternoon 16 Nov: Johnny Hunter quartet - 1.30pm @Inkwell £7/5
Sunday afternoon 23 Nov: Sam Gardner’s “Samadhi” - 1.30pm @Seven Arts £7/5
Sunday afternoon 30 Nov: Zoe Gilby Quartet - 1.30pm @Seven Arts £7/5
Sunday afternoon 7 Dec: Robin Porter Quartet - 1.30pm @Inkwell £7/5
Sunday afternoon 14 Dec: Autumn Jazz Café - 1.30pm @Seven Arts £7/5
Sunday afternoon 21 Dec: Nicola Farnon Trio - 1.30pm @Inkwell – our Xmas Party £7/5

Interview with Benet Mclean

　

Benet Mclean is a jazz pianist, singer, writer and violinist, who I have caught a couple of times playing in London. Ahead of his Wakefield Jazz gig on Friday 14th March I caught up with him for a chat on the email! For more details of the gig please check http://www.wakefieldjazz.org/bands.htm
Some of you might have spotted him playing in Jay Phelps band last week at Seven Jazz Leeds!



MBS - Is this tour an album tour or will there be other material being played in Wakefield?
BM - Everything's gone by in a bit of a blur recently. I've been involved in another project called Projections of Miles which has been good and I've had several dates with my own group in places such as Derbyshire , Lincoln & more. This date in Wakefield marks the end of a string of dates for us . . . I wouldn't quite call it a tour but it certainly has been an interesting ride. We're playing a mix of stuff , some as yet unrecorded too. I would say 60% from the previous albums and 40% new music (to be recorded in the future). We're really excited about the new release on 33 Jazz Records "Benet M. Live @ the 606" and we want to build on the kind of sounds and ideas we got on that album.
　

MBS - You have been a pianist and keys player in other peoples bands in your career has this informed your own music?
BM - That's a good question. Inevitably I think it has. Immediately Kevin Haynes Gruppo Elegua comes to mind. My tenure with Dennis Rollins' Bad Bone & Co was really helpful for me to observe presentation options (if that makes sense?). Knowing there are different ways to present the music. I don't wanna get on the straight-aheader's nerves - but I've never really been to interested in turning up to a gig, having a beer and kinda going on and jamming on standards with pretty much the same formula on every tune. I've always been attracted to different ways of doing things i think. Even some of the people that i was so fortunate enough to have as mentors & musical colleagues when I was a child growing up (such as Yehudi Menuhin, my amazing school music teacher Miss Osborne, Kora player and composer Tunde Jegede & many more) have really had a lasting vibe to me. I feel lucky and feel I'm just as much a fan of music as being a musician - when heroes of mine come and play at Ronnie Scott's in London - myself and a couple of friends alway bring albums of the appearing artist to hopefully get an autograph !
　

MBS - Do you ever sing with a pianist other than yourself?
BM - A few times, yes. I used to sing backing vocals in this 'super-in-vogue' club in London called the Ten Rooms. Celebrities used to be sitting around drinking. The music was loud!! The music was a far cry from the bebop that we love.
　

MBS - This is your third album as a leader, what is the inspiration behind this one?
BM - Yes, I'm excited about this album - it was recorded last year & is a live album recorded at one gig at the 606, also featuring superb saxophonist Duncan Eagles. I'm not as enthusiastic about live albums that feature material sort of collected from the best parts of gigs. You probably get a stronger selection in a way - but I think might lose the "live at the gig" feel of the album. This album is not only from one gig but it's pretty much from one set too . . . it's pretty much our 2nd set from that gig. I have trouble digging my own stuff though - a lot of times I just hear what could have been better.
　

MBS - When song writing what comes first, the lyric, the melody, the rhythm or the Harmony?
BM - For me every time it's different. And I'm not a prolific writer too. If an idea comes to me that seems to be leading to a new song then I get the pen and paper out. But I hardly ever sit down and say "right I'm gonna write something now". If it comes then cool . . . but otherwise i'm cool with that too. I'm also, I guess one of my contemporaries, that never uses a computer at any stage of the writing process & still even handwrite all the parts for the band. I like computers and all . . . but I guess I'm just old fashioned. For me the music writing process is head,heart,time to evolve, then pen,paper.
　

MBS - What makes you want to interpret a particular song?
BM - If it moves me - if it kind of gets inside you.

　
MBS - You have a healthy interest in art, do you paint?
BM - Not so much these days - I have exhibited some of my paintings and drawings in the past. But honestly I don't really see myself as a fully fledged artisan. It's just something I might do if I'm not doing much creative music for a period you dig?
　

MBS - Do you like Marmalade?
BM - Love Marmalade actually. Love it... I wanna get paid in Marmalade for the next gig please

Here is one of Benet's youtube clips paying homage to the great jazz pianists as a taster of what to expect on Fridayhttps://www.youtube.com/watch?v=1eGhiqRv-Wg

For more about Benet please check out his web sitehttp://www.benetmclean.com/

Crowd funding and jazz

The modern music world has changed in the last 10 years, with the record deals vanishing, file sharing, music streaming and vinyl coming back!

For a jazz musician or a band to record they are now mostly dependent on self-funding the album, my estimate would be that to record through to having a product will cost the musician in the region of £5k however Tommy Smith recently quoted £18k to produce his last album. Then there are the promotion costs on top, with the average jazz record sales being fairly low, it is unlikely that the jazz musician is going to become a millionaire soon!

There are a variety of ways the musician goes about funding a project, be this directly out of their own funds, from government (ACE) funding, getting loans from family and friends,  pre-sales. This where crowdfunding comes into play, various safe websites have been set up to enable the artist to collect funds from pre-sales, donations and wild and exuberant gifts! This gives the funder (hopefully you) a chance to see the early stages of the process coming together as well as getting something for your money. Who knows in the future this could be the modern way of buying music?

Craig Scott recently funded the production element of his latest cd through one of the sites and now it is Matt Anderson who is looking to generate funds for his debut album as leader. At ‘Jazz Goes To Leeds’ we have the following information for you.

Wild Flower Sextet Launches Crowdfunding Campaign

The Wild Flower Sextet have launched a crowdfunding campaign to support the making of their debut album, which they are recording on February 22^nd and 23^rd in the Leeds College of Music recital room after receiving a place on the Jazz Services Recording Support scheme.

The band, led by Leeds-based tenor saxophonist Matt Anderson, takes its name from a composition by the great Wayne Shorter, and the project celebrates the master saxophonist's music with deconstructed re-workings of his compositions as well as new material. Also featured in the band are young London-based trumpeter Laura Jurd, guitarist Alex Munk and pianist Jamil Sheriff, as well as the ever-popular combination of Sam Vicary and Sam Gardner on double-bass and drums.

The project has received support so far from a number of sources. As well as being awarded a place on the Jazz Services Recording Support Scheme, the band is also being supported by Leeds College of Music who have donated their recital room and Steinway grand piano for the recording. Alongside this, the band has also set up a crowdfunding campaign on Sponsume.com, allowing fans to support the project by pre-ordering copies of the album and signing up for different rewards. These range from mp3 downloads and a bonus disc with live footage and photos from the session to having their names printed in the album sleeve and tune dedications.

The campaign on Sponsume.com runs until the 1^st March, which is when mixing and mastering of the album will begin with a view to an Autumn release, and can be accessed by following http://www.sponsume.com/project/wild-flower-sextet-album.

www.matt-anderson.org.uk

Here are some early studio takes
http://www.youtube.com/watch?v=k6dNSdcjinE

Gig update

The Abstract Hip Hop Orchestra are now supporting Soweto Kinch at Seven Arts on Thursday 23 January:

Gig Details

Soweto Kinch, saxes, reed, voice with Nick Jurd double bass and Shane Forbes drums.

Support from the Abstract Hip Hop Orchestra: (8pm start) Jim Corry/Russ Henderson/Athol Ransome - saxes, Malc Strachan/JamesHamilton/Si Denis -trumpets, Rosie Nicol/Kevin Holbrough/Pete Johnson -trombones, Izzy Flynn -keys/Fatty -bass and Matt Davis -drums

Award-winning jazz alto saxophonist and hip hop star Soweto Kinch celebrates the release of his studio double album titled ‘The Legend of Mike Smith’- featuring his new... trio Karl Rashid-Abel (double bass) and Shaney Forbes (drums). It tells the tale of a young MC caught in a very modern world of temptation.

Hear Soweto talking about his new album, inspired by the Seven Deadly Sins on BBC Radio4.

“I’m really excited about these shows; the stripped trio format allows me more harmonic freedom and space to deliver lyrics. Moreover, I’m excited about integrating new things into the show, such as tenor sax and live looping” Soweto Kinch

“..a scalding display of post-Coleman alto-sax improvising, a virtuosic and intelligent exposition of political rap, and a visually riveting event into the bargain…A real tour de force – a contemporary take on The Seven Deadly Sins.” John Fordham The Guardian

Music here- www.soweto-kinch.com

Abstract Hip Hop Orchestra

The Abstract Hiphop Orchestra are a 13 piece ensemble with a big brass section, rappers and 4 piece rhythm section who play big band arrangements of classic 80s and 90s hiphop. The band leader is saxman Rob Mitchell (The Haggis Horns) who has arranged the music of Jay Dee, A Tribe Called Quest, The Pharcyde and many other golden era hiphop artists into a big band format .


Soweto Kinch ‘The Legend of Mike Smith’ - International Jazz Concert Series@Seven Arts Thursday evening 23 January 8-11pm £16/14 conc.

Full details and tickets
http://www.sevenjazz.co.uk/whats-on

Mark

Interview - Jamie Taylor - Outside Line Album

I caught up with Jamie Taylor the Sheffield based guitarist for a chat (by email) about his latest project 'Outside Line'

In case you cant read the album cover the personel are:

Garry Jackson -Bass

Dave Walsh - Drums

Jamie Taylor - Guitar

Matt Anderson - Sax

MBS -  It's been five years since your last album, have you been working on this album since then?

JT - The last album (“Cat Dreams”) was with my previous group “Java” - which gradually ceased to be, as we all got busier with different things. I didn’t feel like doing anything of my own for a long time after the last record. I played and recorded with Jamil Sheriff’s big band, and worked quite a bit with other groups like Paul Baxter’s Give A Little Love Orchestra and Ben Lowman’s Django Project. I also did quite a lot of work with vocalists - two records with Sarah Brickel, and a string of dates with Rosie Brown’s “Where Light Falls” project. Eventually, I began to feel ready to get something going again, particularly once I started playing with Matt, Garry, and Dave - the group that became "Outside Line”.

I guess I wanted to wait until I was doing something distinctly different from what I’d done before, and I knew I wanted to switch the line-up to a tenor/guitar quartet, so that I could do a bit more comping. If there’s no piano, that can afford a bit more freedom harmonically sometimes. I also wanted to loosen up my approach a bit and experiment with some different textures and longer forms etc. Finally, just on a practical level, it’s a costly business, making records - I can’t afford to do it too often!

MBS - Did you take a collaborative approach to writing this music or was it arranged first?

JT - I think what we do is pretty typical of how most contemporary jazz groups function. Someone writes a tune (they're all mine, on this album, but Matt has started writing for the group now as well) which will have a melody and harmonic structure in place before it’s brought to the quartet. But then, when we start playing it, everyone’s free to make suggestions. I think you have to get a balance between clarity of vision and collaboration within a group. It’d be crazy to take musicians like these and then try to limit their contributions. At the same time, though, I feel it’s almost as bad to ask really fine players to work with you and then just coast along in their slipstream - you have to know what each player’s special qualities are, and why you think they will combine well together.

MBS - When writing music do you start with the melody, chord structure or a different starting point and build from there?

JT - It can be either. With this record, the stuff on Side One is all quite melody driven so, there, the melodies definitely came first. With the “Three Colours: Blues” suite on Side Two, the idea was to come up with unusual variations on the basic 12 bar blues theme, which meant that structure and chords were perhaps more pre-determined.

MBS - I understand that it was recorded in a secret location, any reason for this?

JT - I wouldn’t call it a secret location exactly but, like all studios, Wharfe Valley Sound doesn’t like to advertise its exact whereabouts for the usual security reasons. In terms of the process, it was lovely. Sam Hobbs is an amazing producer, engineer, and musician. He does everything he can to make you feel like you’re playing live - we were all the same room and there were no headphones in sight! That’s no mean logistical feat, especially in a fairly small space, and it makes such a difference to the music. Almost everything on the record was a first take, which I think says it all really. The kettle was always on as well - music is impossible without a plentiful supply of tea.

MBS - Have you been gigging the album's music before recording or have you recorded it first?

JT - We’ve gigged most of it - the exception being “Fugue (Hazy)” which came together shortly before the sessions. Generally, it’s always better to have gigged material first, I think - you’re more familiar with it and, also, live audiences are brilliant at letting you know what the shape of something should be; they help you to answer questions like: Where are the climaxes? Are there any bits that could get boring? etc.

MBS - Are the musicians on the album, long -time associates or specially selected for this music?

JT - Both. Garry Jackson and I go back to the Jurassic Period, and I’ve known Dave and Matt for several years as well. But, as I said previously, just because you’re friends with someone and know they’re a great player, it doesn’t necessarily mean that a particular combination will work. So, yes - in that respect, they were absolutely chosen for this music.

MBS - You have treated this album as whole rather than a collection of songs, why did you decide to have longer pieces?

JT - Well, I have a great fondness for the golden era of vinyl - you know that sort of 1970s British art-rock thing where you had the gatefold sleeves and pieces took up one whole side of an album? The LP was invented almost by accident, but it’s always felt like the perfect size of canvas to me. I keep waiting for the digital music thing to emulate that - people at the moment seem to prefer convenience, which is fine, but with all these playlists and everything - I don’t know… with some music it can be like shuffling the chapters of a novel. Lots of people have said that, I know...

MBS - What was the inspiration for this album?

JT - Various things, but quite a lot of it was inspired by the arrival of my nephew and niece in the last three years, and the album is dedicated to them - hence “Someone New: Suite”. When my niece was born, I remember going out for a long walk in the Peak District and, when I got home, the first section of that piece came to me in a flash. It’s really funny how that happens; I think the scientists are starting to explain it now, in terms of how certain activities can stimulate other areas of the brain.

MBS - Is the music telling a story?

JT - Not in a strict programmatic sense, I don’t think, but I hope there’s a journey involved. The first suite certainly travels from music that sounds quite uncertain and mysterious in the beginning to a fairly uplifting and positive conclusion - that probably reflects my feeling about life in general. It’s scary at times, but if we have the right people around us, it’ll all be ok!

MBS - Will you be touring the album?

JT - We will, but first I have a UK tour in February with Tom Harrison, Conor Chaplin, and David Lyttle. Once I get back from that, it’ll be full steam ahead with the Outside Line project. I’m just in the process now of trying to get everything organised - I wish there were eight days in the week sometimes. If only The Beatles had been right about that… All my live dates are on my website at www.jamie-taylor.com so that’s the place for people to go if they want to check the progress.

MBS - Do you like marmalade?

JT - Now we get to the heart of the matter. If someone gave me hot buttered toast and marmalade, I’d be very grateful, and I’m sure I'd enjoy it. But, if I was making it myself, I’d probably stop at the butter stage.

Thank you to Jamie for the chat, I understand the album will be out mid Jan 2014 all details will be on Jamie Taylors website www.jamie-taylor.com there is a preview on sound cloud:
http://soundcloud.com/jamie-taylor-32/introducing-outside-line

Having had a sneak preview, ealier in the year and of the album, all I can say is this is a great album, we have an early copy so will be posting a review here soon!

Mark

Gig Preview and Interview with Ronnie Bottomley

Gig Preview and Interview with Ronnie Bottomley

Lee Gibson and RBJO@Leeds Irish Centre,
York Road, Leeds, LS9 9NT 
Thursday evening 12 December 8-11pm
£16/£14 concessions

This year Seven Jazz have moved their big band spectacular to the Irish centre York Road Leeds because the previous venue always sold out! I caught up with Ronnie for a chat (by email). Most people in Yorkshire who know about the jazz scene will have encountered Ronnie Bottomley, who was the inaugural winner of the Jazz Yorkshire Lifetime Achievement Award.

Ronnie who has years of experience as a jazz drummer, is also an educator and a band leader. Now in his 80s, it appears that he is working as hard as ever in all 3 guises.

On the 12th December he brings a fresh set of arrangements for the first set and then internationally acclaimed jazz singer, Lee Gibson joins the band in the second set.

Was it always going to be music for you or did you have other occupations before or during?

RB -  If I numbered all the jobs that I had had from being ten years of age to when I turned pro in 1960 you wouldn't believe it - looking back, even I can't believe it. At ten I had two paper rounds and washed mill owner's cars on Saturday morning. When I was twelve I added to all this by caddying on the golf course all Saturday afternoon then from midnight until Sunday lunchtime I cleaned inside mill chimneys and de-scaled mill boilers. When I came out of the navy I couldn't settle, I worked at Covent Garden as a potato porter , then at Billingsgate Fish Market pushing barrows up the hill opposite the gate, then sold Encyclopaedias door to door and on and on - I had twentyfive jobs in just over two years. I took a hairdressing course open to ex-servicemen and, as I'd had selling experience, ended up working for Raymond, better known as 'Mr Teesie Weesie', the TV personality. Due to befriending drummer Phil Seaman when I was in the navy in Portsmouth (and everyone who is a jazz fan should know who he was) I was playing around the North London area as a semi-pro during all this and, eventually, music won me over.

Has it always been Jazz that you have played?

RB - No, although jazz has always been my first love, as a pro one has to go where the money is so during the 60s, 70s and 80s I played for a variety of stars on the cabaret circuit from Matt Munroe, Johnny Ray, The (original) Drifters, Howard Keel, Edmund Hockridge, Alma Cogan, Ruby Murray, Dorothy Squires, The Beverley Sisters, Bruce Forsyth, Bob Monkhouse and toured Europe and Australia five times with Gene Pitney, at the time. I was also doing regular TV work on the Les Dawson Show, Emmerdale, The Royal and Stay Lucky. Added to which, fusion, or jazz/rock, emerged in the early 70s and I loved it and embraced it whole- heartedly.

How does running a big band differ from when you started?

RB - Well, every town and city had one, if not more, Palais de Dance halls like The Mecca and The Majestic Ballroom in city square where people danced nightly, so running a big band was quite different then (in the Bradford, Halifax, Huddersfield, Wakefield, Harrogate and Leeds area there were over forty, full time, seven nights per week drummers working, if the cabaret clubs are included). Now, to run a big band, it has to have in it, at least, sixteen members who, because they love jazz, are willing to travel miles and work for next to nothing just to play. These are now known as 'rehearsal bands' and, usually meet once a week to play, sometimes before an audience, sometimes not. My Jazz Orchestra is full of the top soloists in the country and travel from as far away South Wales, North wales, Cheshire, Nottingham and Doncaster, plus the local people from Leeds and Harrogate. All this means that we can't rehearse and so in all the concerts that have been attended in the past the musicians have had no more idea of what the arrangements were going to be like than the audience. It's all 'seat of your pants' stuff and makes for a very exciting performance but, they're all excellent readers and, so far, it's always gone without a hiccup.

How did you meet Lee Gibson?

RB - I first worked with her on a concert in Rotherham when I played in the Colin Yates Big Band twenty-three years ago. I then met Lee Gibson through her association with LCM as an external examiner. I worked there for thirty-three years and during that time whenever she came up she would bring quintet charts then we'd play somewhere locally in the evening or lunchtime in college or whatever.

What do you feel sets her apart from the other big band singers?

RB - Most other jazz vocalists usually sing with small groups which allows them more freedom but Lee is equally at home with both small groups and big bands.

What songs can we expect to hear on the night and why have you chosen those particular songs?

RB - I have yet no idea which songs Lee will choose sing on the night (I did mention that we didn't rehearse, earlier, didn't I) before the concert we will all meet to have a quick look at the programme and, perhaps, blow through some of the more tricky numbers and get the sound engineer to make any adjustments where necessary. For the first half I've written entirely new arrangements that feature certain members of the band, "Without A Song" (Joel Purnell, tenor sax); "Emily" (Neil Yates, flugel horn); "Prelude To A Kiss" (Tony Harper, baritone sax); "West Side Story Medley" (Dave Walsh, drums); "Billie's Bounce" (Derrick Harris, guitar); "I'm Not Yet Over The Hill"- very fitting - (a blues featuring Graham Hearn, piano) plus a whole lot of other numbers. Bill Charleson has arranged "A House Is Not A Home" which features Bill, himself, on alto sax).

Do you like marmalade?

RB - I do like marmalade, the one that has all bits in it like was originally. 

For more details of the gig please check:

http://www.sevenjazz.co.uk/whats-on

For a taster of the gig here is a youtube clip from last year!
http://www.youtube.com/watch?v=R-bAyFlXAX4

If you are looking for Ronnie he can be found on facebook!
Lee Gibsons website is:
 http://www.leegibson.co.uk/

Hope to see you all at the gig
Mark

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Interview Richard Iles – Microscopic Seven Arts 24th November

I first came across Microscopic as part of the Jazz North – Northernline, those in the know will have encountered Richard Iles playing and composing before, either with the Scottish National Jazz Orchestra or The Miniature Brass Enssmble more recently. Microscopic premiered at the Manchester Jazz Festival in 2012 however my first encounter with Richards music was at the Northern line showcase gig back in the summer in Leeds where he was the last act on (following The Weave, Stuart Mcullum for strings and Djangologie all tough acts to follow).

For me; the music I heard had beautiful melodies, great harmonic choices and subtle rhythms. Well Microscopic are back this side of the Pennines at Seven Jazz on 24th November I highly recommend you attend! I already have my tickets reserved! I cant give a better description that what Seven Jazz say ‘Microscopic play warm, melodious home grown tunes, no amplification, just right for the ambient acoustic setting of Seven Arts.’

Microscopic are:

Richard Iles – trumpet/flugelhorn,

Mike Williams – alto saxophone,

Les Chisnall – piano,

Percy Pursglove – bass,

I caught up with Richard by the power of email to have a chat about this gig:

MBS – How is being a member of Northernline treating you?

RI - It`s been really good, especially the showcase event in Leeds where we got to hear 3 other bands which were all great and it was nice to catch up with some old friends. I think Nigel Slee and all the Jazz North team are doing a great job and as ex Yorkshire resident I can`t remember there ever being an opportunity like this for North west musicians being supported in this way so I’m very grateful for the opportunity to be part of a programme like this.

MBS – Why the small format from the bigger bands of the past?

RI - In the past I have co-led a big band with Andy Schofield and most recently I have had a Brass based group called the Miniature Brass emporium, I also have a jazz quintet called Prestwich Deluxe and I now run this smallest of bands called Microscopic! This band has come about because I really wanted to play some jazz with the people in the band, the format of the band is incidental to the people who are in it. I have had a long association with pianist Les Chisnall and Percy Pursglove is one of my old students, although I taught him the trumpet I was astonished to hear him many years later playing the Bass. Percy is an amazingly rounded musician who I really wanted to involve in this band. Finally Mike Williams is a colleague at Birmingham Conservatoire on the jazz course who I believe is a pretty unique talent and is very seldom heard performing in public.

MBS – Any reason you have decided against having drums?

RI - No particular reason although I always enjoyed listening to the Jimmy Guiffre trio with Paul Bley and Steve Swallow and the absence of drums obviously changes the dynamic of the music. It does have its challenges but playing with drums also has its own challenges. The format of the music allows the music to breathe in a different way without drums so I don’t think it is an issue for the musicians.

MBS – What came first the band or the music?

RI - Well I think the band came first really although some of the music is from another time and I thought it would fit in this context. I always feel that once I have written a tune and the musicians have played it, it no longer belongs to me as they hopefully put their own slant on it. I`m not precious about how it is played as I believe the musicians I have chosen can bring a unique interpretation to it and that to me is what its all about.

MBS – Is it all originals planned for the Seven gig or will you be including some   interpretations of peoples music?

RI - It will be some of my music and some other tunes which are particular favourites of mine which I hope will be appropriate for the day.

MBS – What is this music saying, is there a story behind it?

RI - With some tunes that I write there is a story behind it which relates to the background that is occurring at the time of writing it. I tend to think about writing tunes every day and I keep a little book with all my bits and pieces in and I keep everything that I write most of which is not that interesting but I only use the stuff that I can live with for a while. I’m not sure whether the stories are that relevant to the listener as I think it’s nice when the listener creates their own story for the tune. One of the things about instrumental music is, there are no lyrics to help the listener through, but I feel the melody, harmony and groove can help let the audience create their own story.

MBS – When you compose is there a set way this happens do you have a starting point like a specific melody line or bass riff or do you start with the harmony or rhythm first?

RI - A starting point has many ingredients and there is no specific order to it. Sometimes it can start with a melodic idea, sometimes it can start with a mood created. Most of the tunes I write start when I am in the car driving to work so I sing the idea into my phone and record it (hands free!). I rarely start with a chord sequence as I find it doesn’t give the best results for me. Rhythm is created by interpreting the melody in different ways and sometimes I think of a bass line. I don`t really have a method that I use, I just like writing music for my own pleasure and when a new tune arrives I’m relieved!

MBS – Being a trumpet player how do you think this affects your compositions?

RI - I don`t really know, I just like music and I play the trumpet and I love listening to jazz so I think that along with all my past musical experiences have an effect on how I play and the stuff I write. My tunes tend to work on most instruments and they certainly aren`t particularly technical.

MBS – Do you like Marmalade?

Well as a child of the 70`s I do remember Ob-la-Di- Ob-La-Da but my favourite band of that type was Mud, Tiger Feet.

To hear some of Richards music and a video interview check out

http://www.jazznorth.org/northern-line-artist-films-now-online/

Richards web site has more videos and sounds to check out

https://sites.google.com/site/miniaturebrassemp/home/microscopic