Jazz and Roots - St James Theatre Studio

I remember Cleveland from the early days of Ian Carr’s workshops at WAC.  Cleveland’s brother Trevor used to drop in on a regular basis, and as activity gradually moved over to the fledgling Guildhall Jazz course, various people from both WAC and Guildhall could be found jamming at Peter Ind’s Bass Clef club.  I specifically remember Cleveland singing Take The A Train with Simon Purcell on piano.  I think Cleveland was in Simon’s band at the time, which was called Simon Purcell’s Jazz Train.

So one way and another you could call Cleveland British Jazz establishment. 

And since those days he has had a rich and varied career, performing outstanding and inventive vocals with Byron Wallen, Julian Joseph, Project 23 and countless others.

More recently I heard Cleveland sing a fantastic impromptu duet of Yardbird Suite, with Sheila Jordan, once again bringing a great sense of swing, line and fun to this music, keeping it very much alive.

Cleveland will be performing with his quartet:  Larry Bartley (bass), Ernesto Simpson (drums), and Jonathan Gee (piano).

http://www.clevelandwatkiss.net/

http://www.stjamestheatre.co.uk/events/cleveland-watkiss/

The thing about Anita is she’s kept true - she’s kept true to her word.

She’s ploughed a good, solid, straight ahead furrow, all the while developing great tone, great intention, beautiful phrasing and lines.  Following this remit however, she’s developed great stylistic range, and can deliver beautiful improvisations, vocalese, scat whilst honouring the classics.

Her relationship with the audience is free, open and personable.

Anita will be launching her new CD, The Road.

The lineup is Anita Wardell (vocal), Robin Aspland (piano), Tristan Mailliot (drums), and Jeremy Brown (bass).

http://www.stjamestheatre.co.uk/events/anita-wardell-quartet-cd-launch-of-the-road/

http://www.anitawardell.com/

The focus this week is on the rich heritage of the guitar, which is as big as the piano.  So you’ve got the big German thing which is the piano; and the big Spanish thing which is the guitar, which incorporates the vast oral tradition of improvising and folk storytelling i.e. gypsy, flamenco, jazz and so on; and then the classical thing which is a little bit Western (like lutes and stuff), but then you’ve got the vast well of Arabic Classical music played on guitar-like instruments (the oud etc.).

Dario Rossetti-Bonell                                   

So all of this allows for somebody like Dario to have the career he has.  Where he plays ‘Classical’ music and ‘folkloric/improvised’ music.  I’ve shared the stage with Dario on many occasions.  From very intense classical salon music presentations; through rembetika; to the crazy, electric, magical-realist band Longjon La Flecha (coming from the deep and noble tradition of the Latin thing) at the Notting Hill Arts Club.  I also remember listening repeatedly to Dario’s recording of Granados’ Valses Poeticos because it was so affecting.

Kamao Quintet

I met Jean in France where we played music together.  I’ve watched Jean go on an epic musical journey, starting with his roots in European classical pedagogy, through to the profound awakening that comes with the American classical music called jazz, and the profound discovery that there is a remarkably vibrant European oral tradition incorporating both of these major elements (the European thing and the American thing).  That thing, which we might call gypsy or manouche, looks to Eastern roots and classical traditions.  And so Jean found himself studying classical Indian singing at SOAS as well as developing a repertoire of manouche music.  To me his interest in the Indian classical tradition ties in with the noble and deeply humanistic ethos of his family, who are keen to balance the life of the mind and the life of the body: thought and emotion.

Dario Rossetti Bonell (guitar) is playing with Magnus Mehta (percussion)



Kamao Quintet are: Jean de Talhouet (guitar and vocal), Dave Shulman (clarinet), and/or Francesca Ter-Berg (cello), Sharon Subarrao (violin), Dave Kelbie (gypsy guitars), and Ruth Goller (double bass)

You can find Dario’s Valses Poeticos here: http://www.dariorossettibonell.net/activities/

https://itunes.apple.com/gb/album/granados-mangore-villa-lobos/id381878526

and kamao Quintet: http://kamaoquintet.bandcamp.com/

https://www.facebook.com/KamaoQuintet

 Magnus Mehta

It was after a barnstorming gig at the North London Railway Tavern that my dad, John Miles, who was there, told me what a great band this was, and that the rich and varied tapestry of jazz life in London never ceases to unveil hidden gems such as this.  It was a few weeks later that I happened to meet Robbie Robson on the bandstand.  We were both playing in Frank Griffith’s superb Nonet featuring arrangements by Marty Paitch and Mick Foster, and stellar playing by Robbie, Henry Lowther, and Matt Waits, amongst others. 

I’ve also had the pleasure of hearing and playing alongside tenor player, Josephine Davies, whose clear and robust approach continues to affirm and sparkle.

The Harlech Road band are: Robbie Robson on Trumpet, Josephine Davies on Tenor Sax, John Turville on Piano, Ryan Trebilcock on Bass and Paul Clarvis on Drums.

http://www.stjamestheatre.co.uk/events/the-harlech-road-band/

http://www.loopcollective.org/people/Robbie-Robson

http://www.triorecords.co.uk/Josephine_Davies_Perspective.html

I first heard Alice Grant (one half of Moats and Thrones) sing in her a cappella duo Normal Gimbel with Ruth Goller.  They delivered an inventive, fearless and honest musical performance of original songs. 

The other half of Moats and Thrones is bassist Tom Herbert, somebody who I’ve known for a  very long time – a good friend and a great bass player.  In fact I’ve known Tom so long, that when we first met, I would’ve had a beard, and Tom did not.  Tom’s wide ranging career takes in The Invisible, Mara Carlyle, Acoustic Ladyland, Polar Bear, Andrew McCormack, Dorian Ford, The Catford Devils, Martin Speake, Jade Fox and much more.

Mikey Kirkpatrick is Bird Radio.  And my first musical encounter with Bird Radio, I found to be equally inventive, fearless and honest.  Although in this case we are looking at a solo performer using a combination of found and acoustic material with a deft and judicious use of technology, which enhances the organic and folk based vibe, not the other way around.  Or for want of a better phrase, Mikey’s use of electronics and loops don’t smother the music.

Bird Radio “A mix of old testament preacher and Captain Beefheart. There’s a touch of Tom Waits and Nick Cave in there too…” **** Jazzman

http://www.stjamestheatre.co.uk/events/moats-thrones-and-bird-radio/

https://www.facebook.com/moatsandthrones

http://www.birdradio.co.uk/Home.html

Kate Williams Quartet features the remarkable flute playing of Gareth Lockrane.  I’ve had the pleasure of playing with Gareth on many occasions and know him to be a strong and supple player who is constantly searching to develop his sound.  Needless to say this makes him very busy, and I remember being on the tube with him after one gig, where he was running with his amp and flutes up to The Oxford in Kentish Town to play with Kate’s quartet.

I also happen to know that Pat Levett, a drummer with whom I’ve worked with regularly, rates Kate’s playing very highly.

Looking forward to hearing Kate’s Quartet play a mixture of original compositions and standards at the first of our Wednesday gigs.

Kate Williams (piano), Gareth Lockrane (flutes), Oli Hayhurst (double bass), Tristan Mailliot (drums)

http://www.kate-williams-quartet.com/index.html

http://www.stjamestheatre.co.uk/events/kate-williams-quartet/

The idea of a double bill of two piano duos (1 with guitar, 1 with drums), came from Seb Rochford, who invited me and Jonny to make up the second half of a double bill at The Vortex, where Seb was curating a week of music.  In a nutshell, Jonny and I were concentrating on melodies, and Seb and Kit dealt with soundscape.  So, in my head, it was a bit like having Egberto Gismonti and Morton Feldman round for dinner at the same time, which as it turned out, is not such a bad idea after all.

I first met both Seb and Jonny a long time ago, working with Jonny’s fledgling band which eventually blossomed as Oriole, music which Jonny still performs regularly. 

I’ve done various things with Seb over the years, from straight ahead to indie guitar bands, most notably for me when Seb played with my guitar band Blend – more a conceptual than practical band, although I don’t really know why.

Kit is an incredibly nice guy and an incredibly great musician.

This will be our last Friday gig.  Jazz and Roots is moving to Wednesdays from May 1st.

I’ve had the pleasure of sharing the bandstand with Deirdre on several occasions.  I’ve always enjoyed her sense of groove, taste, and fun.  Another quality worth mentioning is her versatility.  I’ve heard her take on original music with inventiveness, and classics with integrity. 

Over her long career, Deirdre has built upon a fine rapport with many musicians, including the band members you will hear on Friday.  As a key protagonist in the regular Blow The Fuse nights, Deirdre demonstrates great energy and commitment, so it’s fantastic to have her playing here at the St James Theatre Studio.

The lineup is Deirdre Cartwright Guitar, Steve Lodder Keyboards, Alison Rayner Bassand Winston Clifford  Drums