Disc of the day: 23-09-09

Claire Martin: A Modern Art (Linn AKD 340)
What I really love is that, in a world of folk singers singing slightly bluesy songs, singers who once had a deal with a jazz label now not singing jazz at all, and singers who think singing standards somehow automatically makes them jazz singers, Claire Martin is the real thing: a jazz singer. It matters not what she sings, she makes it jazz because, like a jazz version of Blackpool rock, it goes all the way through.

She covers a wide range of material on this disc, from rareties of the great American songbook (like Rodgers & Hart’s Everything I’ve Got Belongs To You), originals (like the stunning title track written by Claire and MD Laurence Cottle), jazz pop songs (like Fagen & Becker’s Things I Miss The Most, and Michael Franks’ Sunday Morning Here With You), and, most fascinatingly, modern jazz tunes with added lyrics (like EST’s Love Is Real with words by Josh Haden, and Joshua Redman’s Lowercase with words by Mark Winkler).

That Redman track is the place to start if you thought jazz singers were a bit too showbiz and cabaret for you – it’s a storming piece of thoroughly 21st century jazz. In fact that can be said of the whole album. Martin has found a way of making jazz singing a modern art when so much of the time it has retreated into an exercise in nostalgia.

She’s warm and romantic when she wants to be, more muscular in tone and articulation when that’s what’s needed, and is the absolute mistress when it comes to fitting a lot of words into a tricky melody line at speed. And her choice of musicians and bassist Laurence Cottle to arrange and produce the whole affair echoes that same modern spirit. Gareth Williams is on piano, James Maddren  and Chris Dagley share the drum duties, Nigel Hitchcock is on alto and Mark Nightingale on trombone. Phil Robson comes in on guitar and Sola Akingbola adds percussion.

I’ve also lost track of the number of CDs Claire Martin has made for Linn (great recorded sound guaranteed). And this is, I think, the best one yet.

Disc of the day: 22-09-09

Steve Kuhn Trio with Joe Lovano: Mostly Coltrane (ECM 270 1114)
The pianist played with Coltrane in between his leaving Miles and forming the famous Quartet, so he has good reason to record an album dedicated to the great man.

It features his long-time trio of David Finck on bass and Joey Baron on drums, plus Lovano in absolutely stunning form. Lovano is not usually the most Traneish of tenors, but he achieves a fascinating thing here, sounding very much himself but also conjuring up, strangely, the original player of this music. Just try the opener, Welcome, for a taste of this wonderful feat: Lovano hangs those notes in the air and the spirit of Coltrane is in the room.

Kuhn is a rich and mult-layered player – a far cry in style from the pianist who would come to be most strongly associated with Coltrane, McCoy Tyner – but one who gets to new places in the music via a very different route.

And the music he covers here reaches from those he played with Coltrane, like Central Park West and I Want To Talk About You, right through to those that came much  later, like Configuration.

Baron and Finck are wonderfully supportive, and again very different from the players we most often hear playing this music, but, like Lovano, they get to the source. And isn’t it amazing how, with such a well-worn quartet line-up, and playing mostly music from 40 years ago, really creative musicians make it all sound so fresh and new.

Many choice moments, like when the intense declaration of  Song of Praise gives way to the swing and a deep-digging solo from Kuhn. Or Kuhn’s own compositions, the piano solos With Gratitude and Trance, the latter quite Abdullah Ibrahimish at first, before spreading like a river over a flood plain.

This week’s Midland gigs

Down in London they are in the throes of London Fashion Week. While certain players and styles of jazz may go in and out of fashion, mostly we’re not that fickle. And there are some things that never go out of fashion – they are always there, the staple and constant of the scene, despite how difficult they may be to maintain: big bands.

And even more special than big bands are youth big bands, opportunities to foster burgeoning talent and ensure the music has a future.

Keeping the flame in these parts is the Midland Youth Jazz Orchestra, run with enduring tenacity and against all the odds by John and Nichola Ruddick.

The great American trumpeter Bobby Shew has said of MYJO: “One of the finest youth bands I’ve ever performed with… in the world.”

The band gigs regularly around the region and beyond (sometimes as far beyond as across the Atlantic), but one of their annual engagements is as part of the Solihull Festival. And this year that gig is this Thursday.

MYJO with special guest singer Tony Jacobs (ex Syd Lawrence Orchestra) are at the Solihull Arts Complex, it starts at 8pm, and tickets are £13 (concessions £12 from 0121 704 6962 or on the door.

If you have heard MYJO before you’ll know the exceptional standard of the band; if you’ve never heard them before you’ll be amazed at the high quality of the music and the excitement and energy these under-25s generate on evergreen big band jazz tunes.

Find out more about MYJO at myjo.co.uk

Down at the White Swan in Stratford-upon-Avon on Sunday is a very lively band from the North West, the Magic Hat Ensemble: Steve Chadwick on cornet, Tony Ormesher on guitar, Andrzej Baranek on piano, Nick Blacka on bass and Rob Turner on drums.

They’ve been to the White Swan once before and raised such merry hell of the swinging kind that they’ve been asked back. Tickets are £8 on the door and you can find out more at stratfordjazz.org.uk

The thing I like about Stratford Jazz is that they maintain the grand old tradition of the raffle – excellent!

Although she does different things these days, the fact that earlier in her career singer and songwriter Gwyneth Herbert was marketed as a jazz vocalist means she always gets a mention in jazz columns and magazines, so why should we make an exception?

Gwyneth has a fine new album, All The Ghosts, out now on the Naim Edge label and will be singing songs from it in the Glee Club Studio in Birmingham on Friday.

Doors open at 7.30pm, there is no entry after 8.15pm, tickets are £10 on the door but £9 online at glee.co.uk

Russ’s pic of the week

20090918_empirical_0317A new and regular feature on thejazzbreakfast. Each week photographer Russ Escrit will be sending me his favourite picture of the week, or perhaps one from his extensive archive. Today it is the grinning Shaney Forbes, drummer with the band Empirical who were at the CBSO Centre on Friday evening. Russ has captured perfectly the delight Shaney takes in his work.

Russ has been shooting (in the nicest possible way) local and visiting jazz musicians for a good few years now. In fact, he has recently compiled a book of the ones he likes best. Here is the cover:

Idries Muhammed

You can order a copy here, or if you want to check out more of Russ Escrit’s superb pictures, go here.

Disc of the day: 19-09-09

Edmar Castaneda: Entre Cuerdas (ArtistShare S0095)
It’s not the first instrumental line-up for a trio that springs to mind: harp, trombone and drums.

But to call Edmar Castaneda a harpist is a bit like calling Charlie Hunter a guitarist. The Colombian manages to take the traditional music of his home, mix it up with Latin jazz, add his own bass lines and percussive effects and basically becomes the most extraordinary one man band when he wants to.

And when he adds Dave Silliman on drums and percussion, and Marshall Gilkes on trombone, and then calls on the services of guests like guitarist John Scofield, vibes player Joe Locke, singer Andrea Tierra and Samuel Torres on cajon, you end up with the most joyous sound imaginable.

Try this YouTube clip of Entre Cuerdas, track two from this album, played live at the Jazz Standard in mid-town Manhattan.

Castaneda reminds me of young world/jazz stars like Richard Bona, or Lionel Loueke, or nearly everyone in the Zawinul bands – young virtuosi who seem capable of playing at incredible speeds, in incredibly odd time signatures, and still articulate it perfectly and add that soulful nuance.

You can purchase a download of the album or get a CD sent to you on his page on artistshare.com here.