London Jazz Festival, in association with BBC Radio 3, Friday 11 to Sunday 20 November 2011

Although we only put the 2011 London Jazz Festival to bed less than a month ago, preparations for 2012 are already in full swing. We'll be looking to put the first shows on sale early next year, so keep an eye on the website or sign up to our e-newsletter to be the first to hear the news.

If you want to mark the dates in the diary, plus the dates for the Festivals up to 2014, here they are:

2012: Friday 9 to Sunday 18 November
2013: Friday 15 to Sunday 24 Nov
2014: Friday 14 to Sunday 23 Nov

We've been gathering the quotes that have trickled in over the last week or so, since the Festival finished. We've been overwhelmed and delighted by the feedback we've had from staff and audience members. And wanted to share a few of these words with you. 

“Wonderful festival -more and more on in various locations around London. Great success!” Frances Wetherell, Audience Member

 "Just wanted to say congrats to you and your team on another fine festival - both from a radio and a punters perspective. It was always going to be hard to live up to LJF '10 but once more you came through."Joby Waldman, Somethin’ Else

“A big thank you for everything this last week! It has been a wonderful festival! All three gigs we did were great!! so much fun and we sold loads of albums and met some new lovely people.” Emilia Martensson, Artist

“This is just a quick note to say a big big thank you to the entire Serious team for your boundless help and support that helped make the concert the success that it was. Its been sheer joy and pleasure to work with everyone on this project and hopefully we can work together on future events.” Fariborz, Nava Arts

“Thanks very much for the opportunity to put on two Birmingham bands at the Barbican. It was a very good opportunity and I think it went well. Really enjoyed my three days at the Festival. I enjoyed Jerry Dammers and am very interested in what he's doing now, I loved Threadgill on Saturday and liked nearly everything on the South Bank free stages.” Tony Dudley Evans

“I wanted to say an enormous thank you for the invitation to Saturday's concert at the RFH. It was amazing, both David and I loved it. Totally unexpected FUN from start to finish. We both laughed and clapped and danced for the entire night, as always a great night out! Please pass on my thanks and congratulations to everyone at Serious they absolutely deserve it.” Harriette Goldsmith

“Wonderful gig and a great experience for everyone who was there, thanks again. When we've all got our breath back I hope we can do something for you in the near future.” Julian Siegel , Artist

“I just wanted to say a huge thank you on behalf of the Music team at British Council for your incredible hard work, input and hospitality towards hosting our international delegation within the London Jazz Festival. It was a wonderful festival with so many performances for the delegates to choose from. The networking event felt a real success in connecting UK sector with our overseas delegates, and the inclusion of the Take 5 session this year provided a good platform for connecting them with many of the UK’s finest emerging jazz artists.” Joel Mills, British Council

“Firstly I would like to say as well a huge thank you to the Serious team! Volunteering during the festival was a very enjoyable experience. It was very interesting to see the festival's organisation from a different perspective than from the audience's side. Quite amazing to see how smoothly it was running, which certainly is the result of a lot of work from the whole team beforehand. Thank you as well for all the people I got to meet, the lovely volunteers, very nice sponsors, partners and musicians, and for the great concerts I got to see.” Marie Salles, Volunteer

“Just wanted to say thank you once again to the Serious team for the tickets to Louis at the London Jazz Festival. We loved it. Wynton's score and the musicians who performed it were stunning. Our meal at The Blind Tiger was also great. A very memorable day!” Jane Selva, Competition Winner

“My gig at Oliver's was brilliant and completely full thankfully, and thank you for your LJF support. I'm looking forward to next year's Fest!” Kaz Simmons, Artist

“Thank you for the beautiful festival, I really enjoyed my stay in London! I was extremely thrilled by Tim Whitehead especially.” Bernd Hoffmann, British Council Delegate

“I really enjoyed my two weekends at the festival. It was a good balance of South Bank and smaller venues. And all the tweeting, reviews and the vid pops were great fun. Serious is a great team to be a small part of.” Paul Harrison, Festival Volunteer

“Just like to thank you ever so much for the gig. We thoroughly enjoyed it, and all the people looking after us were great!” Trevor Watts, artist

“Well deserved press. The festival just goes from strength to strength every year. The only regret is that there are so many good things and not enough time. Thanks for another great festival.” John McGloin, Audience Member

“Congratulations on a great jazz festival from a happy punter. I hope you enjoyed it and that all of the Jazz for Toddlers events were as good as the one I attended at Kings Place last Sunday. As you could see my, 3-year old son, Charlie, is already an enthusiast. I managed to get to some “grown up” gigs at the Barbican this weekend and they were both scintillating – Jerry Dammers on Friday and Hermeto Pascoal yesterday. The highlight was the euphoric conclusion to the Jerry Dammers gig when the brass line and percussionists from the big band performed a 20 minute jam of “Space is the Place” in the foyer after leaving the concert hall – to the total delight of the exiting audience. A happy memory.” Jonathan Cooper, Audience Member

“The most enjoyable gig we've done to date. The acoustic and general atmosphere in there really suited our vibe. Thanks a million!” Neil Yates, Artist

“I had such a wonderful time! To see people of ALL ages dancing the night away, just really enjoying themselves, was AWESOME!!! Its been ages since i've had that much fun.” – Selima, Audience Member on the Soul Rebels Brass Band

“One of the best gigs of my life. After seeing them at Ronnie Scotts, where they had literally everyone up dancing, I thought I knew what to expect - but they still managed to completely blow me away. Can't wait to see them again when they return to London!” – Anonymous Audience Member on the Soul Rebels Brass Band

“The Solal/Bollani duets were priceless and you sum up their interaction very well, noting that Solal's exceptional qualities brought out the best in Bollani. And they just loved it - Solal was very relaxed in this company and his brightness and humour permeated their extraordinary set. A great 'double act', more than worthy of capturing in a recording.” Geoff Winston, Audience Member on Stefano Bollani & Martial Solal

This year’s Write Stuffers were out in full force, soaking up every inch of the London Jazz Festival and – as quickly as they had witnessed it- reporting back to us, providing some very insightful and engaging reviews.  

Here are just a few small snippets from reviews that we particularly liked. For full reviews you can visit The Write Stuff’s very own facebook page…but for now this little overview allows for some very pleasant reading...Enjoy! 

Jazz Voice, Barbican

 “The gripping evening came to an end with a collective enchanting tribute to Louis Armstrong’s 110th birthday with ‘What a Wonderful World’, sending listener’s home pleased and pleasantly teased eager to get lost in more of such experiences over the next 9 days of the London Jazz Festival.” Samrit Tekele

“it was Barker’s weighty arrangements that kicked this show, and indeed London’s jazz festivities wide open.” Mark Youll

McCoy Tyner Trio, Barbican

 “McCoy Tyner serves as one of the most commendable elder statesmen of Jazz. Yet, the legendary pianist played like he’s still got something to prove.” Gabi Tartakovsky

Phronesis: Pitch Black, Purcell Room

 “Phronesis did not 'rage against the dying of the light'. Rather they embraced it, the death of vision brought about an uninhibited edge to their playing and to myself in the audience.” Chris Hyde-Harrison

“a theatrical charisma and extreme dynamic ranges….that somehow naturally pull the listener into a very intimate sonic space.” Mak Murtic

Archie Shepp & Joachim Kuhn, Queen Elizabeth Hall

 “Archie Shepp lives up to his reputation, not so much as radical, more about doing his own thing” Roger Thomas

Empirical, Queen Elizabeth Hall

“energetic, and at times, ambient set that sucked from their latest Elements of Truth album, spurring a lengthy approval that was close to greeting Shepp and Kühn’s later, and equally rapturous welcome to the stage.” Mark Youll  

 Magnus Ostrom, The C.A.M.P

“Öström paid a moving tribute to Esbjörn that was swiftly followed by one of the heaviest grooves of the evening, proving that this was both ‘post-E.S.T.’ and singular in its own right…minimalistic yet entirely grooving” Patrick Groenland

Roy Haynes + Peter King, Queen Elizabeth Hall

“the drummer snapped and crackled with an energy unselfishly expended in supporting his trio.” Matthew Ellis

Beats & Pieces, Kings Place

“a fine teaser for what’s to come from a promising band.” Samrit Tekle

Ornette Coleman, Royal Festival Hall

“beautiful experiments at the threshold between ensemble and individual.” Matthew Ellis

This year, we also welcomed back a couple of Write Stuffers from the class of ’08. Still eager to come and enjoy the Festival (who wouldn’t!), Ade Stevenson and Howard Caine delighted us with their reviews all over again. 

Kenny Wheeler & Norma Winstone and the London Vocal Project, St James’ Piccadilly

“It would be a sour soul who wasn’t just a little moved by the joyous atmosphere inside the St James’ Church, Piccadilly last night for an evening with Kenny Wheeler and the London Vocal Project.” Ade Stevenson 

 Gwilym Simcock Trio, 606 Club

“The ever polite wizard of the keys” His trio “fizzed and sparkled like a firework, ideas spinning off in a multitude of directions before being pulled back together for a resolution.” Howard Caine

Serious and Jazzwise celebrate the Write Stuff’s 10th birthday in 2012.  If you are a former Write Stuffer, please contact nadine.wood@serious.org.uk (please include the year you participated), in order to find out what we have in store!

The Festival is over. We can’t quite believe it. Friday 11 November feels like yesterday. There’s a sense of elation in the office, (combined with tiredness and, on one count, an inability to speak!) as it’s clear for all to see that the 2011 London Jazz Festival has been huge amounts of fun and, from what we can gather, a massive success. 

We've been overwhelmed, and delighted, by the sheer volume of press coverage we've had for the Festival this year. I wish I could list it all, but it’d go on for pages and pages. I’ve selected a (rather large) list of the highlights. It makes for a rather long blog post. But there are so many, it's difficult to choose. I do urge you to read to the end. Bedtime reading perhaps?

“London Jazz Festival, that glorious time of year when more live improvised music can be heard in the bars, clubs and concert halls of the capital than the rest of the year put together.” The Independent

“A ramshackle Old Street basement blazing with incandescent noise comes right after an evening of elegant grand-piano jazz around the corner at the Barbican. Such behaviour is par for the course at the 30-gigs-per-night London jazz festival. It's like iPod-shuffling with live music, only governed by the nimbleness of your legs rather than your thumbs.” The Guardian

“While all those smaller gigs all over the city are important in making the London Jazz Festival representative not only of jazz in the world but in this city, one of the really valuable things LJF can achieve with its backing from Serious and BBC Radio 3, is the presentation of seriously important musicians who have brought so much to this area of music down the years, but whom we don’t get to hear nearly often enough” thejazzbreakfast.com

“Doubters often caricature jazz as an avalanche of notes cascading down a slippery slope of fast-changing chords, with no melodic refuge in sight. The 2011 London Jazz festival has undoubtedly offered some of that in its first week – although mostly of an eloquence that sells the idea even to sceptics – but it has also showcased the timeless virtues of great song-based tunes, embellished by gifted improvisers.” **** The Guardian

Steve Coleman+ Steve Williamson & Pat Thomas, Queen Elizabeth Hall **** Evening Standard
“A musician with the mind of a mathematician, this formidable Chicago altoist opened the London Jazz Festival on Friday with a spellbinding set that systematically elevated basic note-patterns into kaleidoscopic fantasies.” Evening Standard

Jazz Voice*, Barbican, **** The Guardian

McCoy Tyner*, Barbican, ***** The Independent
“This is music that gives out more oxygen than it sucks in – it's giddyingly good.”

Alison Krauss & Union Station*, Royal Festival Hall, *****The Telegraph
“Top-class musicianship, Krauss and Union Station put on one of the most quietly accomplished performances” 

Alison Krauss & Union Station*, Royal Festival Hall, Attitude
“Krauss belied her 40 years with the quality of her voice, an improbably sweet and tender instrument for someone recording music a good 26 years. Between the visual backdrop of Southern States iconography from railroads to wide open spaces and Krauss’s caressing tones, the audience was transported from drizzly old London to a place far more inviting.”

Stefano Bollani & Martial Solal*, Barbican, **** Evening Standard
“Piano duos are rare in contemporary jazz but the unlikely pairing of a dashing young Italian discovery and wise old French-Algerian master worked a treat here. Their mutual respect was there for all to see.” 

Steve Swallow Quintet + The Impossible Gentlemen, Queen Elizabeth Hall
Louis, Barbican
**** The Guardian

Louis, Barbican, London Jazz
“The tremendously varied score, performed by some of the world’s finest jazz musicians, in combination with the wildly inventive silent film, made for an incredible live performance experience!”

Michel Portal, **** The Telegraph
“There was something wonderful in the total accord between him and the Frenchman, compounded of naïve delight, lightning intelligence and tact.” 

Christine Tobin: Sailing to Byzantium, Purcell Room, London Jazz
“Tobin is blessed not only with one of the most affecting and pure-toned voices in the music, but also with an unimpeachable ear for an insinuatingly lovely melody.”

Gwilym Simcock, 606, Jazzwise
“He’s easily the most significant UK jazz pianist to emerge since Django Bates and Julian Joseph.”

Robert Glasper, XOYO, The Arts Desk
“There aren't too many pianists who excite jazz aficionados and hip-hop fans in equal measure. And while it appears increasingly that jazz artists are refusing to be straitjacketed by genre convention, US pianist Robert Glasper is perhaps the prime example of this blurring at the edges.”

Soul Rebels Brass Band, Queen Elizabeth Hall, The Arts Desk
“Funkier than a James Brown bridge, the mighty Soul Rebels Brass Band swung back into town last night and flattened all before them. Possessing that rare combination of serious chops, impeccable stagecraft and down-home soul, they confirmed their position as one of the most explosive live acts on the scene.”

Richard Galliano, Royal Festival Hall, Jazz Journal
"Richard Galliano is a master of the machine, and in the first brief half of this London Jazz Festival set, gave us a solo masterclass in how to play it well."

Abdullah Ibrahim, Wigmore Hall, Jazz Journal
"In this subtle and unshowy way, Ibrahim distilled a lifetime of performances into an exquisite evening."

Gretchen Parlato, Kings Place,  Jazz Journal
“A superb set”

PelBo, Kings Place Jazz Times
“Kristoffer Lo’s tuba is vital to PELbO’s unconventionally attractive presence. Wielding the potentially awkward horn more like a guitar hero than a low brass player, Lo used an array of effects and looping pedals to achieve really striking sounds that ranged from tight bass tones to surreal, psychedelic phase shifts. His ability to create, with such a difficult solo instrument, those unpredictable harmonic layers — while perfectly complementing Hoem’s vocals — is nothing short of brilliant.”

The Necks, Bishopsgate Institute, ***** The Guardian

“The Necks are compared to everything and anything: hypnotic trance; John Coltrane's late rhapsodies; the electric experiments of Miles Davis, the soundscapes of Robert Fripp and Brian Eno; early krautrock, such as Can or Neu! This approach, which transcends jazz without rejecting it, echoed other festival triumphs. But the Necks are the masters.”

Ornette Coleman, Royal Festival Hall, **** Financial Times
“Coleman, now 81, remains committed to creative risk. The grooves were freewheeling and mighty, but fiendish unison bursts, sudden stops and changes of direction revealed organisation within. Coleman sailed and soared, fragile at the edges but with his gospel shouts, downward cascades and extraordinary melodic invention still intact. It was a festival highlight.”

Ornette Coleman, Royal Festival Hall, ***** Jazzwise
The quartet received a big and fully deserved standing ovation. A concert that lived up to every expectation and a fitting way to close a festival that this year pushed artistic boundaries in every way.

Hermeto Pascoal, Barbican, **** The Guardian

Bill Frisell, Queen Elizabeth Hall, Jazz Journal
“With Frisell it feels as though we're finally seeing the logical conclusion of that early homage to rural America. It may yet become his lasting legacy, as it quietly continues to renew and enrich the vocabulary of jazz.”

London Jazz Festival 2011 in pictures, The Guardian

London Jazz Festival on Channel 4 News

Soul Rebels Brass Band on Channel 5

Our team of volunteers, members of Young and Serious and participants of The Write Stuff were also out reviewing gigs, and have sent in reviews in their abdunance. 

Our Festival photographer Emile Holba seemed to cover more ground than ever this year. Perhaps because we filled every spare five minutes of his schedule with a photo op. Dinner? Who needs dinner, when you have jazz, eh? The fruits of his spectacular efforts are available for all to see on Flickr here. Here's a few highlights:

The music from the Festival lives on for the next couple of months, through the broadcasts from BBC Radio 3. We'll keep you updated. Coming up this week:

Fri 25 Nov, Emir Kusturica & The No Smoking Orchestra, World on 3
Sat 26 Nov, Regina Carter & Alyn Shipton, Jazz Library
Sun 27 Nov, McCoy Tyner, Jazz Line-Up

*part of the EFG International Excellence Series

SOHO SOUL EXPLOSION
By Ian Shaw

For the Big LJF Friday Night Out, the always magical Dean Street Pizza Express Jazz Club played host to two contrasting artists on Friday 18th, each with direct historic lines to an earlier tradition steeped in jazz. Two houses, two audiences, two composing bandleaders with two firebrand trios. I was more than happy to be in both shows. 

JAMES MORTON'S PORKCHOP

First up, the early set featured James Morton's Porkchop, a Soho-perfect outfit, echoing grooves from the early to mid sixties swinging Brit sounds of Zoot Money and Georgie Fame, to King Pleasure and, later, David Sanborn, The Average White Band, and The Crusaders. The affable, Bristol-born James Morton has clearly (along with the band), served a fun apprenticeship with James Brown mainman and Feel Gooder, Pee Wee Ellis. From the opening "Shuffle" from a forthcoming new CD, Morton and his band drilled an enthusiastic capacity crowd with funky fayre, driven by the loosest-wristed drummer in town, the superb Guido May, and Dan Moore's excellent hammond pads and solos on the Nord C1. Denny Ilett's guitar on his own "Gospel One" was muscular and dextrous, recalling the rock steady "People Get Ready". During "The Hump", even the garlic bread was dancing to Morton's vivid, loopy figures, defying all diaphragmatic possibilities. 

If I was reminded of the rhythm section on Randy Crawford's "Raw Silk", as funky four gave way to searing 6/8 feels, then by the time Lizzie Deane joined the band for a "Natural Woman", the spirit of Joplin was in the room, and the Pee Wee tune, "Cold Sweat", written for Brown in 1968, fairly raised the roof.

James Morton is a true entertainer, but with an almost Cannonball fluidity, and if his warm, engaging link to his audience and showmanship may addle some purists, there's zilcho empty saxman posturing here, just great soulful playing . . . and a thrilling raise-the-roof upper register. The encore, a beautiful ballad, "Forgiven", was inspired by a meeting with his sister, and featured another storming solo from guitarist, Ilett. A standing ovation spoke volumes. Look out for the, as yet, untitled new album, which features an augmented brass section.

JULIE DEXTER

Self-confessed Brummy of Jamaican parentage, the crystal-clear soul-jazz voice of the Atlanta-based singer and composer, Julie Dexter, with a trio consisting of pianist and keyboard player, Nick Ramm, electric bassist, Neville Malcolm, and the profoundly brilliant drummer, Rod Youngs, held the late-show crowd in the palm of her hand .Expressive and gospelly, yet impossible to categorise, she holds a firm and independent role that sits somewhere in the vicinity of a Jill Scott (who is a friend), Angie Stone and the Afro beat jazziness of Dianne Reeves, Dexter's powerful delivery was consummate, playful (she utilises staccato vowels and startlingly effective swoops and flourishes, within or without the text, to improvise) and hugely musical. "Like Ours" from the CD "Conscience" was a lesson to all singers in delivering a total and sheer belief in the simplest, yet most spiritual of lyric.

Her relationship with her excellent trio was an inspiration and sets her firmly apart from most vocalists. Family, friends and looking for the good spirit in people imbues her stories and songs and her take on "Lucy In The Sky " started with an almost "Maiden Voyage" two-chord workout, placing a different slant on the all too familiar melody. In true Dexter style, she interrupted herself and the band (she plays a mean keyboard too) to show us a funkier take on it, her singing stepping further and further up the goosebump ladder. Her mum was in, holding Dexter's tiny new baby, the knowledge of which, brought the audience even closer to her honest appeal. I briefly spoke to her in the dressing room and she told me how she was doing a show at the legendary CBGBs twelve years ago, and was invited, on the basis of a demo recording, to perform in Atlanta. She remains a resident there. "If there's a group of people digging my music, then because of the geography of the fifty-odd states, there's always a new gig to explore. It's about getting my music out there". I asked her about the now, extremely fondly remembered, J Life, a band I used to regularly hear at The Jazz Cafe (Jason Yarde and Gary Crosby are also founder members) "Well, we did that one album and were thinking of a reunion. It's just a matter of getting calendars together".

Early in the set, Dexter deftly flicked a switch and delivered a beautifully succinct and swinging "The Nearness Of You" which felt like the happiest synthesis of her J Life experience, "learning how to sing in tune on standards and stuff". An almost funky "Quiet Nights And Quiet Stars" was a fantastic interplay between the soulful vocals and an eerie impressionistic piano landscape from Nick Ramm. "Happiness", she happily told us, was "my money song", telling us that our joyful applause "sounded like a money-clap to me". "Choices", another original, offset the steadiest groove from drummer, Youngs, with beautifully subtle bass lines and the lushest chords on keyboards, recalling early Rufus. A lovely reading of Marvin Gaye's anthemic "Inner City Blues" showed some astonishing melisma and a reggae re-fit, with the ever musical Dexter on the Roland. From the new CD, "New Again", we were left wanting SO much more from the excellent self -penned "Who I Am". Exit Julie Dexter, to sign CDs and cuddle her mum and baby, a strong, down to earth woman, with a savvy and granite resolve. Oh . . . and a voice that left me floored. And I ain't that easily floored. Fact.

Our team of Festival volunteers have been travelling across the cit, catching as many gigs as they can humanly manage, and reporting on/reviewing the music they’ve seen. I’ve uploaded the full reviews on Facebook. But here are a selection of highlights.

“It seemed that half the audience at last night's Toumani Diabate concert had not ever heard a kora before. I couldn't help feeling that this venue was perfect for their first experience! Union Chapel's beautiful interiors and high ceilings perfectly suited what was to follow- an almost spiritual sonic experience... All in all, an absolutely beautiful concert- calming, entertaining and a thrill to watch.” Toumani Diabate, Union Chapel – by Cara Stacey. Full review

“Coleman took us on a whirlwind tour across a multitude of musical landscapes and themes, from hot to cold, from sad to playful, from heavy grooves to fluid floridity and lyricism… In terms of the ensemble playing, the band gelled under an immense degree of sensitivity; the musicians almost predicting one another's next moves and turns… Altogether it was a fantastic start to the festival; leaving the audience cheering and pleading for more. Absolutely stunning!” Steve Coleman, Queen Elizabeth Hall – by Rory Duffy. Full review

“One of the aspects that distinguishes the London Jazz Festival from many of the other festivals that take place in the city is the efforts it makes to reach out to audiences far beyond the West End. Hence, tonight we’re in Deptford, at the Albany. Until the 1980s, the venue used to be a regularly stop on the touring circuit for bands. It is even rumoured that Tom Waits once ventured down to SE8. These days the venerable old place rarely hosts major gigs, so it’s great to see that it is standing room only for this LJF show by saxophonist, and occasional MC, Soweto Kinch.” Soweto Kinch, The Albany – by Kevin Milburn. Full review

“The Ethnic Heritage Ensemble are Corey Wilkes on trumpet, Ernest Dawkins on saxophones and leader Zahil El’Zabar on voice and percussion…. El’Zabar’s swaying, chanting and impassioned percussion never stop. The intensity then picks up again with El’Zabar scatting furiously, Dawkins drawing delighted applause as he plays alto and tenor saxophones simultaneously, and Wilkes swinging his trumpet from side to side and up and down. Don’t try any of that at home.” Ethnic Heritage Ensemble, Pizza Express Jazz Club – by Paul Harrison. Full review

“A haunting piano melody begins the performance. Some of the notes ring out clearly, but others sound strange like the strings are broken. Kit Downes' piano is joined by the rich tones of Shabaka Hutchings' bass clarinet. Kit reaches into the piano, strumming and plucking the strings. As we move into the second piece the pianist is producing a startling range of sounds and textures.” Shabaka Hutchings & Kit Downes, The Forge – by Paul Harrison. Full review

“What an incredible combination - saxophones, tuba (substituting bass), piano and guitars, fronted by 3 West African percussionists - congas, cajon and djembe. The hits and stops were as well-rehearsed and tight as the skin of a drum, and the swift interchanges of texture, rhythm and harmony made for a stimulating performance, bubbling with good vibes, leaving you fulfilled and on top of the world!” Oren Marshall, Charlie Wright’s – by Rory Duffy. Full review

“A vocalist of extreme versatility and skill, using complex melodic lines, and vocal dynamics, sometimes accompanied by a bossa beat , Gill gave a new lease of life to classic songs such as “My favourite things” from the Sound of Music “Everyone’s talking “ Midnight cowboy and the Michel Legrand tune “ I will wait for you" “ Gill Manley, Hideaway – by Ijeoma Azubuike. Full review

“Emilia’s soulful voice immediately engaged the crowd as did the unique twists she gave to all her vocal material. Emilia’s performance provided a fantastic contrast to the innovative electro-jazz ensemble Moss Project, led by guitarist Moss Freed. Fusing jazz and elements of folk, rock and classical music with ease, The Moss Project’s phenomenal skills as instrumentalists was clear as they launched into long sections of complex free playing. Aresounding success.” Emilia Martensson & Moss Project, Green Note – by Julia Morris. Full review

“In just three days, I have been completely blown off my feet by some of the amazing things happening in the festival, and the sheer talent that is all around us, but this has definitely been the highlight for me so far. Here is a band destined for great things, and definitely one to follow in the coming months with plenty of shows lined up and the promise of an album release in the forthcoming year, and one I'll be raving about to everyone I know. The band modestly describe themselves as 'a work in progress'... I say that it is a work of a collective genius, and an inspiration for musicians and audiences alike across all genres and backgrounds, for generations to come.” PB Underground, Jazz Cafe – by Rory Duffy. Full review

“Entertaining, thought provoking and magical.” Soumik Datta, Rich Mix - by Ijeoma Azubuike. Full review

“Cleveland’s take on jazz is nothing if not eclectic. For this performance he is accompanied by piano, bass, drums, sax and trumpet, with the brass, in particular, providing elegant backdrops, reminiscent, at times, of those created by the great Kenny Wheeler. But as sympathetic as the musical settings were, the evening, entitled ‘Jazz Voices’, was really all about the singing. This came from the stage, thanks to the massed ranks of three choirs, two from Greenwich’s Trinity Laban college, the other from Plumstead Manor Choir, as well as from the floor. An inspiring evening.” Cleveland Watkiss & Trinity Laban, Blackheath Hallls – by Kevin Milburn. Full review

“Matt Roberts presented his all-star big band lineup made up of current and ex-students from the London music colleges. The concert consisted of five compositions, all written by Matt Roberts himself. His progressive compositional style is gloriously reminiscent of Bob Curnow and Pat Metheny, combining an age-old charm with the new and challenging ideas.” Matt Roberts Big Band, Front Room – by Rory Duffy. Full review

“John Turville Trio playing numbers from their new album, Conception. The clear, well-projected piano lines flow in a fluid, fluent exploratory improvisation consisting of captivating lines and shapes - characteristically bubbling up in small bursts with tight, chunky collisions against the percussion, which are always pulled off with style.” John Turville, Barbican Freestage – by Rory Duffy. Full review

Monday morning is upon us. The first weekend of the Festival is over, and has absolutely flown by. Can’t quite believe there are only another seven days left. But what a fantastic first three days it’s been. I’m not sure where to begin in describing it. So many artists, so many concerts, so much amazing music. The reviews we’ve seen trickling in over the last few days will back my words, when I say that this feels like the best Festival yet.

Jazz Voice: 4* The Guardian

Jazz Voice: The Arts Desk

Opening weekend: 4* The Guardian

Opening weekend: 4* Financial Times

Opening weekend: London Jazz Blog

Alison Krauss & Union Station: 4* Evening Standard

Emile Holba was capturing the magic on camera. Check out the first pics we’ve been sent through here (and a few highlights below). More to follow. Watch this space.

Our Festival volunteers and Write Stuff participants have been out reviewing gigs over the weekend, and will be continuing to do so throughout the rest of the Festival. We'll be uploading some highlights here. And putting all of the reviews up on Facebook. 

There is plenty more to come, and plenty to be excited about. Here’s a taste of what some of our Festival artists are looking forward to.

Jovino Santos Neto: “This is my second time at the London Jazz Festival - I played last year with my trio at the Pizza Express and the Bulls Head in Barnes. I'll be at the Bulls Head again playing my music on November 18- the venue has the perfect combination between a pub and a theater, which creates a great atmosphere without becoming disruptive of the music. But for me the greatest thrill will be to conduct a super Big Band playing the music of Hermeto Pascoal along with Hermeto himself and his Group at the Brabican on November 20. I was a member of hermeto's Group for 15 years (1977-1992), so that will be a memorable musical encounter, and I know that musical sparks will fly all over the place.”

Shabaka Hutchings: “I'm excited in this festival to be a part of two new projects, firstly to be a part of Dan Nicholls' Mirror group which Features myself as well as friends from the loop collective (james allsopp, dave smith) whom I've known from college but not done alot of gigs with throughout the years. Also, I'm very happy to be a part of Jerry Dammers Spatial AKA Orchestra (Barbican, Fri 18) which I've been wanting to be a member of for ages.”

Dave Morecroft: "WorldService Project are buzzed about Barbican Freestage date (Barbican, Sun 20) for LJF...we're planning to make it the most rip-roaring set of our lives yet!! Will hopefully be premiering a new tune too.."

Kendrick Scott: “I'm always excited every time I have the honor of playing at the London Jazz Fest. This year I'm looking forward to seeing many artists this year if I have time when not playing. Talent is always in abundance here. Got to see my personal hero and musical Idol Roy Haynes (Queen Elizabeth Hall, Fri 18). I always go and support my buddies from Houston, Robert Glasper, Chris Dave along with Derrick Hodge and Casey Benjamin. (XOYO, Wed 16) One of the best concerts I've ever seem was by Hermeto Pascoal so I'm waiting to see that with baited breath. (Barbican, Sun 20). Also I've been hearing great things about the Portico Quartet so that's on the list (Purcell Room, Sat 19). Too much really. One of the greatest things about the Gretchen Parlato Band besides being great musicians.”

Juliet Kelly: “I'm really excited that there are so many wonderful artists performing at the Festival! Sadly I won't be able to see as many as I would like, but high on my wishlist are Jazz Voice at the Barbican, Shabaka Hutchings and Kit Downes, McCoy Tyner, Robert Glasper (Kings Place, Thu 17) Julie Dexter (Pizza Express, Fri 18) and Fulvio Sigurta (The Bull’s Head, Thu 17).”

Ayanna: “I'm really looking forward to seeing Regina Carter play on the 14th of Nov in the Purcell Room, Southbank Centre. I absolutely love her latest album Reverse Thread which beautifully combines African folk melodies and jazz influences. I've never seen her play live before and I know it'll be a real treat!”

Regina Carter: “I love playing in London as the audiences are so passionate; and I always look forward to listening to – and being inspired by – other groups in the Festival as well. We’ve been performing throughout Europe having a blast!”

Christine Tobin: “This year I'm playing a concert at the Purcell Room as part of a double bill with my partner Phil Robson's band - the IMS Quintet featuring Mark Turner. Our household is quite a buzz with both of us busy preparing our music and trying to work out what gigs we can get along to - there's an incredible programme this year.

My concert is called Sailing to Byzantium and is a programme of ten poems by W.B. Yeats that I've set to music. This is a new project for me although it has it's roots back in 2010. In May of that year I got a call from the National Library of Ireland asking if I'd like to participate in their June event Summer's Wreath, which is a celebration of W. B. Yeats' work throughout the month featuring journalists, poets, musicians, actors, academics and artists of all kinds. They actually asked me if I'd like to come along and give a talk about Yeats and although I was eager to take part, the thought of having to speak at length about the great master filled me with terror. I quickly offered to set four of his poems to music and present that as my celebration of Yeats. I put down the phone and realised that I had just committed to writing new music for four poems to be performed in four weeks! The pressure was on but I was excited by the challenge and found the process of setting the poems deeply stimulating. Finding sounds that would both cradle and bring out the beauty of Yeats' words was a voyage discovery that taught me a deeper understanding of his work. On a personal level it reignited my connection to my Irish roots. The concert at the National Library was a success and I decided that I wanted to set more of his poems and make this my new project. So here I am a year later about to perform Sailing To Byzantium with my favourite musicians Phil Robson guitar, Liam Noble piano, Kate Shortt cello and Dave Whitford double bass. A CD of the same name will be released in 2012.”

Although currently based in Berlin, Katya Sourikova still considers herself to be a Londoner. After all, it was in London that she first began to explore Jazz and where she found her own musical voice as a pianist and composer. After years of classical training including the Guildhall and Royal College, she then immersed herself into the world of Jazz piano and composition, starting from a small studio in North London.

At this year’s London Jazz Festival, Sourikova will be performing material from her latest release Ivan’s Dream, which according to All about Jazz “moves freely and organically along the spectrum of jazz, both American and European, as well as folk music and classical music, all without subscribing fully to any genre but embracing it all”. Written several years ago while still in the UK, the compositions have been rearranged but still bear the same innocent freshness, clear ideas and melodic, cinematic narratives as when she first penned them in that North London Studio. 

We recently caught up with Sourikova to ask a few questions about what her return to London for the Jazz Festival means to her, and her plans for performing in the UK next year.

What are you most looking forward to about playing in the Festival?

 “Returning to London is great for me because it is the place where I grew up, and that has so far most shaped my musical personality, and where the energy and diversity originally inspired me to search for my own musical voice. It’s a wonderful opportunity to appear in front of a really discerning audience, and to see what kind of musical impact I can create – amongst an international audience, as well as my former colleagues!”

What is exciting to you about the London music scene at the moment? 

 “It is good to see that the boundaries of jazz and music in general are being stretched. In this regard I’m a big fan of Django Bates, whom one of my producers, Tim Adnitt, works with closely. I’m also happy to see that the free jazz scene, led by Evan Parker, is alive and kicking, as well as the emergence of a new generation of artists such as Gwilym Simcock doing so well. And the establishment of new venues that feature jazz and contemporary music such as the Forge in Camden is a very positive development and will hopefully attract new and wider audiences.”

What are three Festival highlights for you? 

 “Ornette Coleman, Gwilym Simcock Trio, Bill Frisell 858 Quartet +NeWt.”

What other plans do you have in store for the UK?

“I’m currently working on a musical dramatisation for 2012 called “Queen Maud Land”, to mark the 100th centenary of Captain Robert Scott’s mission to the South Pole. This is a big project for string orchestra and jazz and classical soloists together with narration, dance and electronics – and should be very interesting to British audiences!”

Ian Shaw - celebrated jazz vocalist and stand-up comedian, who performs at this year's Jazz Voice, has taken a few moments in between performances and rehearsals to catch up with Billy Childs over the phone, in advance of his upcoming appearance at Ronnie Scott's next week. 

I have been listening to Californian pianist, Billy Childs, for many years, initially through his partnership on many of the recordings of singer, Dianne Reeves. A solid citizen of the post-bop piano tradition (his blowing scissors were certainly sharpened in Freddie Hubbard's group in the late seventies) it is when Childs is in the driving seat for his own work that we see a passion for composition that seems a gloriously meshed feast of chamber textures echoing Debussy and Ravel. The improvising gene is there of course, as well as the time-playing propulsion of a Brian Blade or an Antonio Sanchez on drums. Childs visits Europe for a tour that takes in Vienna, Switzerland and the bohemian and clubby Duc des Lombards in Paris. He stops off at Ronnie Scott's on Monday 14 November as part of the Festival. I asked him what we could expect to hear at the London club.

"This is the second time I've brought a group to Europe, the first being the North Sea Jazz Festival some time ago...and I'm pleased to have the brilliant Tim Garland. We'll be playing stuff from "Autumn In Moving Pictures" and "Lyric. Jazz Chamber Music Volume One".

Autumn is a filmic collection of nature inspired pieces, also featuring The Ying String Quartet, alongside Bob Shepherd on alto, soprano and clarinet and the extraordinary drummer, Brian Blade, who like Billy, flourishes where orchestral and jazz can lock horns. Is he aware of the uniqueness of his work? He talks of "active listening, where the music is intended for the people to really enjoy, and whatever image is conjured up in the mind is cool! Everyone thinks differently about autumn. Living in southern California and not having seasons, then going to New England made me want to illustrate the billowing clouds, the trees, a path"

'Path Among the Trees' is a chase-like composition perfectly illustrating Childs' love of the great string quartets of the early 20th century. Debussy and Ravel included but also Paul Hindemith and, I thought I could hear Michael Tippett in there too. He told me Tippett would often come to tutor at USC. Was he looking forward to playing the material (albeit without the string quartet, but certainly with his old friend, Carol Robbins on harp...listen to the 'Prelude In E Minor' on the album for an almost eerie oneness made by harp and piano. Brilliant) at Ronnie Scott's?

"I get excited by the concert hall and the club dates. It's just, well, playing music! I've played Ronnie's a few times. In 1978, with Freddie Hubbard, who I spent six years working with." An extraordinary character, one and off the stand? "There's been a lot of talk about how flawed he was, how he was a womaniser and a druggie, but he was oddly paternal with me, curbing his behaviour. But then he'd lash out like an alcoholic parent."

The writer, Renato Wardle, said of Childs that he "shows that music is music" and I asked him about this.

"I like to think that European classical music and American jazz become the same thing. I see a connection between the two prisms of chamber music, and it's not a new idea to fuse together different disciplines. It's important to make sure that each person who represents whatever discipline is in line with whatever they've done through the centuries. Writing in line with Beethoven, I like the string players to feel natural, just like the jazz people do." And does it all come together naturally? Does it indeed swing? "Well, we all need to agree on the concept of time. For classical musicians, one is one. There has to be agreement."

We spoke of our first meeting. I had a recording date in New York at Avatar studios. I had asked him to play on my album, A World Still Turning, produced by Todd Barkan. It was a motley ragbag of contemporary songs, with a few oldies thrown in. I could think of no better pianist. The session was an inspiration. Billy was a gent and the quiet fire and astonishing, soulful flights of improvising made me sing differently. I like that. 

Billy Childs plays Ronnie Scott's on Monday 14 November. Billy Childs, piano. Tim Garland, saxophone. Carol Robbins, harp. Larry Koonse, guitar. Hamilton Price, bass. Brian Blade, drums.

Autumn In Moving Pictures (2010) is out now. www.billychilds.com

I love to read great things about a concert coming up that I am really looking forward to. So waking up on Friday morning to two shining reviews of albums from artists coming up in London Jazz Festival was pretty good. 

Michel Portal’s new Decca album Bailador features an all-star American line-up of some names you’ll know doubt recognise: trumpeter Ambrose Akinmusire, the latest Blue Note hotshot, who packed out Ronnie’s this summer, Lionel Loueke, who collaborates frequently with Gretchen Parlato and plays guitar with Herbie Hancock, French-residing pianist Bojan Z, star drummer Nasheet Waits and bassist Scott Colley. The album has just been given 4 stars in The Guardian and The Telegraph.

The album comes out next week. But we’ve posted some clips to give you a sneak preview:

Michel Portal by DeccaRecords

They’ll play the Queen Elizabeth Hall on Monday 14 November – a concert that’s set to “quicken the pulse of contemporary-jazz fans”, according to John Fordham, who went on to say “If the band catches this atmosphere on its LJF gig, it will lift the roof.”

For John Fordham’s full review read here.

Richard Galliano is another Festival favourite who will be playing both solo and with the “elite international jazz quintet,” La Strada, featuring John Surman and Dave Douglas on Thursday 17 November at Royal Festival Hall. The subject of the concert: Italian film composer Nino Rota, best known for his scores to The Godfather, La Fellini, Amarcord and 8 ½. His album Nino Rota (out on Deutsche Gramophone next week) also received a dazzling review.

“The mix is certainly tempting – Nino Rota's timeless movie themes are beautiful, and this set prioritises their sympathetic rendition.” The Guardian 

Again, take a listen and a look and read the full review here.

A couple of weeks ago, myself, Abram Wilson, Richard Havers and Tim Doyle from Young and Serious convened at Ronnie Scott's on a Friday morning, to talk Louis Armstrong.

Abram Wilson is an award-winning trumpeter from New Orleans, whose music is steeped in the jazz tradition. It therefore seemed fitting to ask him along to lead the interview. 

Answering the questions was Richard Havers. His story is an interesting one. After spending twenty years in the airline industry, working in advertising, in-flight radio and producing concerts for artists such as Paul McCartney and The Beach Boys, he turned to writing. He’s since written over 40 books including include Bill Wyman’s Blues Odyssey, Sinatra, the acclaimed illustrated biography of Frank Sinatra and Jazz – The Golden Era. The connection with us is that he recently co-produced, and wrote the illustrated biography for, Satchmo: Louis Armstrong – Ambassador of Jazz, the 10 CD box set that Decca Records have just released to celebrate Louis Armstrong's 110 birthday this year.

We're also celebrating Pops' birthday at the Barbican at 3pm & 8pm on Sunday 13 November, hosting the European premiere of a brand new silent film called Louis, which offers a reimagining of a young Louis Armstrong growing up in 1907 New Orleans. The film score (by Wynton Marsalis) will be played live to picture, by a group of some of Wynton's closest associates. You can view the trailer here.

I'd love to have met Louis Armstrong. Think he'd be one of the invitees to my fantasy dinner, of famous guests past and present. Thinking about what I'd ask Louis if I had the chance to meet him formed the basis of the interview. I combined my own questions with those from other people in the Festival office, and sent to Abram, who then peppered the questions with his own thoughts and ideas. Tim Doyle was there filming for us. 

The result, was 40 minutes of fascinating dialogue between Abram and Richard. We got quite carried away, and the interview was far longer than planned. So long in fact that youtube wouldn't upload the clip in its entirety. So you have it in four parts. 

Happy watching. I suggest sitting down with a cuppa, one evening, and setting aside 40 minutes listening to Richard talk about Pops. It's 40 minutes well spent.

Part One:

Part Two:

Part Three:

Part Four:

This year's Festival looks back to jazz history in a number of different ways.  

Jazz at Cafe Society - a new project curated by Alex Webb - tells the story of the 1940s New York night club Café Society. When it opened in 1938, the venue was the first in America to welcome customers of all races. Billie Holiday sang in the opening show – and it was there that she was given Strange Fruit, the song with which she became synonymous. Among others who performed in Café Society, or its sister venue Café Society Uptown, were Lena Horne, Sarah Vaughan, Sister Rosetta Tharpe, Charlie Parker, Miles Davis and Count Basie.

Alex Webb has taken the time to write a few words about the project.

"Just came off the phone to New York to a very senior lady – the widow of jazz club owner Barney Josephson, who set up and ran Café Society from 1938 to 1949. I had an inkling this would be a good theme for a jazz show, but when I first explored it I didn’t realise what a story it was – intertwining music, comedy, race, politics and paranoia.

Josephson, with his 1930s left-wing idealism, wanted a place where the races could mix freely, on the stand and off. Which wasn’t run by the Mob. Which offered some of the hippest music and cabaret New York could offer – and in 1938, New York could offer a lot. And if you want to know where all that idealism ended up, you’ll have to come and see the show.

Trying to create the right atmosphere for a show like this is difficult – I’m not in the nostalgia business, and anyway the realities of 1930s America don’t invite nostalgia. What I am trying to do is remind people of the extraordinary wealth of popular culture that Barney Josephson could call on in those days – not just jazz stars Billie Holiday, Lena Horne, Sarah Vaughan, Count Basie et al, but folk singers like Josh White, comedians Zero Mostel and Imogene Coca, and Gospel group the Golden Gate Quartet.

We’ve got some great talent on the show too – not only a crack band but vocalists Gwyneth Herbert, Alexander Stewart and – taking a break from her nightly TV programme on France’s Canal Plus – Paris-based China Moses. We also have radio presenter, DJ and political agitator Max Reinhardt to MC. Max understood the significance of Barney Josephson’s philosophy right away.

The bad news is that Terry Trilling-Josephson, Barney’s widow, had a fall recently and won’t be able to make it over for the show. But we have her blessing – let’s hope we can live up to it."

Jazz at Café Society is on at the Purcell Room, South Bank Centre on Thursday 17 November at 7.45pm.

We’ve got an exciting piece of news to kick start the week… London Jazz Festival App has gone LIVE! 

Download for free today from iTunes or Android Market. This handy app will act as your pocket-sized event guide. You can browse events, artists and venues, star your favourites, navigate the city using integrated maps, and share your experiences with us by posting photos in real time,, and tweeting straight to @LondonJazzFest. For more info click here.

Our 10 day countdown is beginning…

So, although today is Halloween, we’ve said goodbye to our pumpkins, got the scary movies out of our system and are now immersed head to toe in London Jazz Festival frenzy. (Quite literally…check out Jonathan, our very own Production Manager, sporting the brand new LJF merchandise).

From now until Friday 11 November, we’ll be counting down each day on the Festival blog, posting ticket and CD give-aways, interviews, concert picks from Festival artists and staff, and last minute opportunities to book some sneaky discounted tickets!

Keep an eye on our London Jazz Festival facebook page and follow us @LondonJazzFest on twitter. This is where things will be happening, at a speedy pace, so make sure you’re on your game!

We’ll also be highlighting ‘what’s in the news’ and be keeping you in the loop as to what’s going on in the run up to London Jazz Festival.

In the news…

 Already this weekend take a look at the double-page spread in the Observer talking about the upcoming, emerging new faces of Jazz.

http://www.guardian.co.uk/music/2011/oct/30/jazz-new-faces-empirical-kairos-mccormack?intcmp=ILCMUSTXT9386

TimeOut listed their top LJF 2011 highlights.

http://www.timeout.com/london/feature/1719/london-jazz-festival-2011-highlights

Coming Up…

 Ayanna on BBC World Service, Thu 3 Nov. 

Soul Rebels Brass Band on Later with Jools, Live on Tue 8 Nov, full show Fri 11 Nov.

After the world premiere back in June, Matthew Bourne and London Sinfonietta’s Written / Unwritten collaboration returns to the London Jazz Festival.  We will get the chance to witness how this project has progressed over the last few months and have the opportunity to see what happens when classical and non-classical musicians collide and how improvisers and non-improvisers collaborate.

We’ve pooled together a few insights from Matthew Bourne and David Hockings (Principal percussionist of London Sinfonietta) to get a glimpse of their working relationship.

David Hockings on working with Matthew Bourne…

How was working with Matthew Bourne?

 A very interesting experience, mainly because he’s a really interesting guy.

Was it difficult to combine your (usually different) working philosophies?

 It’s often difficult to begin a collaboration when musicians from quite different backgrounds come together. However as almost always happens, as soon as we begin to make music a sixth sense cuts in and the creative process begins, no barriers exist.

Were any unusual discovers made throughout the process?

 As well as all this quite challenging work we did find time to exchange stories on how performing various works over the years we had all managed to injure ourselves, my own involving a football ratchet to the head, totally self-inflicted of course and drawing blood. Matthew’s involved staining various pianos with blood as a result of over enthusiastic plucking.

Matthew Bourne answering the Sinfonietta’s quickfire questions …

What – or where – is perfection?

 Interesting question – I don’t think it really exists even though one may wish that it did…

What’s your favourite ritual?

 Listening to The David Jacobs Collection on BBC Radio 2 whilst soaking in a hot bath with a glass of Bushmills Whisky at 11pm on Sunday nights. I LOVE his shows…

What is the most important lesson life has taught you?

 Impermanance and the unforgiving power of mother nature…

If you could programme your ideal show, which artists (living or dead) would you bring together?

 Richard Pryor, Laura Nyro, Lord Buckley, Grace Jones and Scott Walker.

What is the most played piece of music on your MP3 player or in your CD collection?

 Most recently it’s been Shostakovitch’s String Quartet No.13, Peter Gabriel’s eponymous debut album and Ben E. King’s Stand by Me…

Have a listen to London Sinfonietta and Matthew Bourne in action:

I would have loved to have been a fly on the wall at Southbank Centre over the past few weeks, as the three members of Phronesis (Jasper Hoiby, Ivo Neame and Anton Eger) have undertaken the task of teaching arrangements of their tunes to a 40-strong group of singers and instrumentalists. The arrangements have been created by Dave Maric – a very gifted composer in his own right, who also happens to have a vivacious personality, perfectly suited to instilling enthusiasm in the next generation of musicians. I won’t speak more about him. You can read it here. Also present for the first few workshops was Sachal Vasandani – who made a flying visit to London just over a week ago. 

Our Learning & Participation work is integral to the Festival programme. Throughout the Festival, there are opportunities to get more involved in the music, through workshops, masterclasses, Big Sings, Way In To The Way Out (introduction to jazz history), and our free Hear Me Talkin' To Ya pre-concert talk series.

We're also bringing back our popular Jazz For Toddlers series, which this year sees award-winning trumpeter Abram Wilson lead jazz improvisation workshops for groups of little 'uns, aged 2-5. I can't see a better age for kids to start learning the tricks of the trade - can you?

And it's obviously not just me that thinks this. The series has proved so popular, that all three sessions (artsdepot, Kings Place and Discover) are completely sold out. But you'll be pleased to know that there are plenty of other ways for the whole family to get involved. Follow the links above to check these out. 

Sandra Nicholls-Marcy - a friend of ours, who contributes fairly regularly to the LJF blog - grabbed half an hour with Abram, to have a chat about jazz education, and to find out why he sees it as so important.

Where does your passion for jazz education come from?

"It comes primarily from having great teachers and some really great experiences playing from very young. My teacher made our three notes sound like a concerto. He taught us to use what we had to our full potential and he participated in the music making process with us. Music is at its best when it communicates. Every time a jazz musician plays it’s about educating the audience - that’s why it’s good to explain what the tune is about before you play it."

Does jazz education differ from other types of music education?

"It shouldn’t, but it does. Once the foundations are learned you can assemble them with improvisation, and you can make your own music. Kids need to have a creative aspect in their lives – it teaches you independence and creativity. It’s a good way of teaching people how to work together. I try to always touch on other subject matters like independent thinking, history, even maths are crucial to understanding music - it all helps."

What are the challenges introducing children to jazz?

"When kids get to their teens it’s almost like they can’t hear jazz because it’s competing with other types of media. And from 9 to around 17 or 18 years old, they have experiences which cause them to feel insecure. They don’t feel bold enough, they worry about what people are going to think. Before you’re 9 you don’t care, you just want to have fun. What I try and do is teach kids to conquer their fears. When you teach jazz music you’re teaching them to have courage. Jazz is a fun experience if you present it in the right way."

Tell us about the “Jazz for Toddlers” workshop at London Jazz Festival?

"It’s for 2 to 5 year olds and their parents. There’ll be dance, movement, storytelling, understanding the history, singing songs, doing the jazz walk. Some games where they’ll perform on different rhythmic instruments. Kids love to listen, play and dance and it’ll be their introduction to participating in the jazz world."

The Abram Wilson Quartet will be performing 'Life Paintings and Singing Pictures' as part of the Festival at Harrow Arts Centre on 18th November.

Have a listen to Abram in action:

Abram Wilson - J'espere by dunemusic

In 2009, Tim Whitehead was appointed to be the first ever musician Artist in Residence at the Tate Gallery. He spent ten months improvising in front of a series of sketches by JMW Turner. The sketches – known collectively as Colour Beginnings – were described by Turner’s contemporary John Ruskin as “more precious and lovely than any finished drawings.” They reveal the inner workings and raw edges of this genius of light, form and atmosphere and were an inspiration for artists such as Mark Rothko and David Hockney. 

From these improvisations, Tim produced his latest album Colour Beginnings, which he'll perform live at the Festival - at artsdepot, and at the Royal Academy of Arts. Projected images of the sketches will appear throughout the performance, alongside a personal commentary about Turner and his work given by Whitehead himself.

I could spend a further ten minutes attempting to explain this project to you, but this short documentary does a far better job:

Tim Whitehead (vocals, sax), Liam Noble (piano), Pat Bettison (bass), Milo Fell (percussion).

Look forward to seeing all of you art enthusiasts in November...

Phronesis took the Barbican stage on Saturday evening to play an opening slot that most musicians would kill for - supporting seminal saxophonist, and one of the most original and admired jazz composers, Wayne Shorter. Their set was deservedly well received by the 1900-strong crowd and since by the critics, with mentions for the group being swept up in a series of 4 and 5* reviews.

We’ll be posting more about the Wayne Shorter gig on the Serious blog. But here, we're going to talk a bit more about Phronesis.

Looking ahead, their next London appearance will be at the Festival, where they’ll give the London premiere of their new project Pitch Black. The project is the live incarnation of the trio’s 2009 album Green Delay which leader Jasper Høiby wrote for, and dedicated to, his sister who lost her eyesight due to severe cataracts. Pitch Black aims to explore whether the absence of one sense heightens our other senses, and how the loss alters our experience of the world. It was first performed at the Brecon Jazz Festival this summer. We’ve since caught up with Jasper to ask a few questions about the experience of performing in complete darkness, and what they’ve taken from this. Sandra Nicholls-Marcy, who writes for the Social Jazz Blog, and has contributed a number of articles to the Festival blog, conducted the interview, and has drawn together the highlights. 

What was different for you, Ivo and Anton about the connections between yourselves, the music and the audience as a result of playing in complete darkness?

"I guess for me instantly the big difference is that I felt a closer connection to the music and the audience. Sometimes you have to work on the atmosphere to get to that ‘zone’ where you can focus and be in the moment but turning the lights off certainly helps that along. There’s a very strong bond between the three of us anyway and turning the lights off only seemed to increase it."

Did you hear anything in the music that you’ve not noticed before?

"I wouldn’t say that I heard new things but rather that we seemed to find or explore new avenues of the music that we haven’t touched upon before."

Being such an unfamiliar concept, the audience might have been forgiven for being a little reticent at the beginning. How did the mood in the room change as the concert progressed?

"The mood changed quite drastically in my opinion. Midway through the gig I told everyone not to forget how they’d normally interact at a gig if the lights were on and that definitely seemed to make people relax a little more. I got the feeling that it felt quite fragile to the audience and hence the hesitation to clap or participate in the ways they might usually have done, but in the end everyone seemed to get involved and enjoy themselves."

How did you go about preparing for the concert?

"We spent some time talking about the things that would be different from a ‘normal’ gig, then I wrote some notes and changed a few cues into musical cues as opposed to visual ones. After that we rehearsed in a dark room with sleeping masks on."

Now that you’ve had time to reflect, what would you say is the lasting impression this performance has for you?

"It felt really good being able to make people think about and appreciate their sight and also focus entirely on the listening experience. After all listening is what we (musicians) are all about when we play and communicate through sound and spread and share emotions in this manner. Personally it also felt good for me to get such great feedback from the people who participated in the concert. I hope that some of that positivity somehow gets passed on to my sister, she is after all the reason for doing it in the first place."

The Pitch Black concert is on Wednesday 16 November at the Purcell Room, Southbank Centre. Tickets are selling fast, so booking early is recommended.

Phronesis goodies up for grabs

For one lucky winner, we have a Phronesis goody pack to give away, which includes a Green Delay poster, a signed drumstick, and signed copies of all three albums - Organic Warfare, Green Delay and Alive.

For two runners-up, we have an extra two signed copies of Green Delay. To win, please answer the following question:

What is the name of the second track on Green Delay?

Email your answers to amy.coombe@serious.org.uk by midday tomorrow (Tuesday).

For your viewing pleasure, here are a couple of photos that Cat Munro took in Brecon:

We are looking for some friendly, enthusiastic individuals to join our London Jazz Festival team this year as volunteers. The Festival runs this year from Friday 11 – Sunday 20 November 2011, and we're looking for people that can offer a minimum of four days.

There are opportunities to volunteer in three seperate areas of the Festival:

Communications – To assist the communications team with merchandise, the Festival information stands, guest lists and press liaison.

Production - To provide general running support to the production team

Development – To support the development team in delivering sponsor and supporter receptions

Sound like your cup of tea? Find out more here

The Soul Rebels Brass Band - the musical stars of HBO hit show Treme - take time off-set to play a one-off London gig at this year's Festival. You may have already seen them live, or perhaps heard about their live shows - they're fast gaining a reputation as a band able to get anyone on their feet and dancing. Even your dad, you might ask? Might be worth getting down to the Queen Elizabeth Hall this November to find out.

At last year's Festival, they had a crowd of people snaking around the venue doing the conga. And back in July this year, they had a typically passive Ronnie Scott's audience on their feet and dancing for most of the night - the higlight being the sight of a 200-strong group crouching down, and doing the twist, in answer to the question "how low can you go?". Bring back any old school memories...? It did for me. Check in at 2 mins 40 secs..

Anyway. Veering off subject there. We've giving away free downloads of three tracks from their new Rounder album, Unlock Your Mind. 

Just over a week ago, we asked our e-list to send through some of their Festival highlights, to be in with a chance to win a Festival goody bag. It’s been great to hear what everyone's looking forward to. I've posted a selection of the responses we've had. The favourites so far seem to be McCoy Tyner’s revisiting of the famous Coltrane and Hartman record with Jose James and Chris Potter on Saturday 12 November at the Barbican, and Ornette Coleman – who closes the Festival on Sunday 20 November at the Royal Festival Hall. We’d love to hear from you, if you have anything else you’d like to add. Just post a comment below.

We selected a winner at random, and have put a goody bag in the post to Ewen Macdonald.

"Ornette Coleman" - Alec Smith

"She might not even really count as a jazz artist but, for me, it's gotta be Cesaria Evora :)" - Joe Lickens

Very sadly, Cesaria Evora’s concert at the Royal Festival Hall has been cancelled. Click here for more info.

"Steve Coleman" - Mike Granville

"My highlight of this year’s Festival will be McCoy Tyner Trio feat. Jose James and Chris Potter." - Jernej Kovac

"It has to be Ornette Coleman." - Peter Anderson

"My highlight of this year’s Festival will be McCoy Tyner Trio feat. Jose James and Chris Potter." - Teja Rot

"Can't wait to hear Phronesis live in the intensity of complete darkness! The bonus of new music will only add to the excitement!" - Laura Gompertz 

"In my opinion the best act this year will be Alison Krauss and Union Station." – Patrycja Swadzyniak 

"I’m looking forward to hearing Gretchen Parlato again – also on my “must listen” list are Richard Galliano, Jacqui Dankworth & Sarah Jane Morris." – Ewen Macdonald

"Bill Frisell" - Andras Lieszkovszky

"My nomination is Nik Bartsch." - Patrick Stroudley

"The name of the band that I consider to be the highlight of this year’s Festival is Alison Krauss & Union Station." - Anne O'Maolain

"My highlight of the festival… McCoy Tyner reenacting Coltrane's vocal collaboration with Johnny Hartman." - Kevin Coles

"My highlight nomination for the Festival is the McCoy Tyner Trio featuring Jose James and Chris Potter." - Alasdair Dickson

"My nominee is Jazz Voice – featuring Noisettes singer Shingai Shoniwa." - Wala Danga

"Marcin Wasilewski." - Ian W N Dougall

"Several to choose from until a few days ago - now it has to be Ornette of course!" - Mike Tabrett

We've just received the sad news that Cesaria Evora will no longer be able to perform at the Royal Festival Hall on Friday 18th November as part of the Festival. She has had to cancel her forthcoming dates for medical reasons and has made the decision to retire.

Serious has worked with Cesaria Evora in Britain since her very first concert here, a magical evening fifteen years ago in the Queen Elizabeth Hall as part of the London Jazz Festival. We have seen her fill all the major concert halls, and develop into a great artist, and we were looking forward to her return to this year’s Festival. Sadly, this is not to be – on her doctor’s urgent advice, she has decided to retire immediately and to cancel her autumn tour. We all wish her a long and happy retirement.

Looking to get into journalism? Check out The Write Stuff - the scheme we run in partnership with Jazzwise, offering aspiring jazz writers the opportunity to work with professional journalists, learn the tricks of the trade, and put new skills into practise by reviewing concerts throughout the Festival. 

You can read more about the scheme here. And if you think it's for you, email a 300 word review of a gig/concert, your CV and a paragraph explaining what you hope to gain from taking part  to education@serious.org.uk by Monday 5 September.

Spread the word...

Hope to hear from you soon.

Freda, Sophie and myself spent last weekend in the hills at Brecon Jazz Festival, listening to lots of music, meeting lots of jazzers, and eating LOTS of welshcakes.

Here’s a snapshot of the weekend, through the LJF lens…

FRIDAY 

Robert Mitchell 3io:
Very nice. Intricate and flawlessly executed music. Lovely compositions by Robert Mitchell and, as ever, solid support from Tom Mason and Shane Forbes. A classy act.

Robert Mitchell’s Panacea play Charlie Wrights on Friday 11 November.

Image: Tim Dickeson

Fringe magnetic:
Some captivating moments in this set. The pieces that Rory had arranged in a more orchestral style were very strong - he's clearly a great composer with a good ear for arrangement, and certainly the line up suggests he's interested in music with a classical dynamic.

Fringe Magnetic play Kings Place on Saturday 19 November, as part of this year’s Festival residency, showcasing emerging musicians from both sides of the Atlantic.

SATURDAY

Rocking Chair:
Loved this group. They're labelled as Jazz-rock, but it wasn't as simple as that - they're not Acoustic Ladyland or Led Bib - they're probably more jazz than that, but hop into some quirky territory by virtue of some almost pop like melodies, occasionally rock riffs and indie-ish compositions. Some tunes involved some delicate electronics too, which were woven into the music in a very deft fashion and sounded almost Bjork-like at times. They also included a female trumpeter, who was refreshingly good and even more refreshingly understated - both in playing and in gender.

Kevin Brady Trio featuring Bill Carrothers:
Drummer-led but piano-driven. Hard swinging, felt very American in style. A slick outfit, playing with style and assurance.

Yaron Herman trio
It was a shame not to see more people turn out to see Yaron, but those that did caught a touching and clever set, and it was good to see raucous rounds of applause throughout and a good proportion of the audience jumping to their feet at the end.

Polar Bear & Jaeger
Stylistically the pieces felt very well-formed and the introduction of an MC really worked; he had a strong presence without looking like he was trying too hard, which made him instantly accessible, and had the same kind of effortless confidence that Wendy Lewis brings to The Bad Plus. Packed audience and even a couple of crazy dancers in the aisles (who were assumed were just on a musical high..).

Phronesis
Premiere of their new project – Pitch Black. And pitch black it was. For 50 minutes, the trio played in complete darkness and we were invited to experience a live performance “blind”. Not sure we can articulate this better than James Lachno (The Telegraph). The enthusiasm from the audience throughout, plus the leaps to a standing ovation at the end, spoke volumes.

The project will receive it’s London debut at this year’s Festival – on Wednesday 16 November in the Purcell Room.

Image: Cat Munro

SUNDAY

Aquarium:
This proved the perfect Sunday morning tonic. Leader Sam Leak’s melodious, flowing compositions had an inky depth to them - like watercolours – and took the audience on a soothing, satisfying journey through the 75 minute set.

Aquarium play Charlie Wright’s on Sunday 13 November. 

The Sam Crowe group:
Excellent gig with cream of the crop line-up. Interesting and diverse repertoire, excellent musicianship and great chemistry on stage - it was buzzing all the way through. Particularly impressive given that table tennis was played into the wee small hours the night before. Big audience and rapturous reception suggested we weren't the only ones to appreciate this.

Sam Crowe plays Oliver’s on Saturday 19 November.

Image: Tim Dickeson

Stonephace Stabbins:
A tight, but playful affair which gives Larry a great base to play around, though he does this with healthy brevity so it doesn't feel too much like a leader and sidemen. Zoe Rahman is sounding amazing at the moment; really beautiful, generous and open playing. Lovely.

Robert Glasper Experiment
Quite a small audience for this show – but nevertheless the group gave a consummately excellent and undeniably powerful performance.

Robert Glasper Experiment play XOYO on Wednesday 16 November, and then Glasper takes his trio to Kings Place on Friday 18 November, followed by a short UK tour.

Femi Kuti
Amazing performer, great vibes and some amusing anecdotes woven into his set. Fantastic way to end the festival; he had the Big Tent jumpin’.

All in all, a wonderful weekend. Viva la Brecon!

Have a read of the reviews below, to hear what the journos particularly enjoyed:

http://www.telegraph.co.uk/culture/brecon-jazz-festival/8700833/Brecon-Jazz-Festival-Phronesis-The-Hall-Christ-College-review.html

http://www.jazzwisemagazine.com/news-mainmenu-139/68-2011/12014-jazz-breaking-news-phronesis-shine-in-the-dark-at-buzzing-brecon-jazz-fest

http://www.guardian.co.uk/music/2011/aug/16/brecon-jazz-festival-review

http://www.jazzfm.com/2011/08/brecon-jazz-festival-2011/

http://londonjazz.blogspot.com/2011/08/brecon-festival-round-up-of-sunday.html

Image: Amy C's Blackberry

It’s been fantastic to see Ronnie Scott’s take the British jazz scene by storm once again this year, in a string of double-bills for their third annual Brit Jazz Fest. They’re still in the throes of the Festival and, from what we hear, shows are selling out across the board.

A number of the Serious team were down at the venue last Wednesday, to catch a host of past and present Take Five*artists, and to whet our jazz appetites, in advance of both bands’ appearances at the Festival this November.

Opening the evening’s proceedings was current Take Five artist Adam Waldmann’s Kairos 4tet, playing from his widely acclaimed new album Statement of Intent, and featuring fellow Take-Fiver Ivo Neame, plus double bassist Jasper Høiby – who took part in the scheme in 2009.

Another current Take Five artist Ben Cottrell returned to the venue with his 14-piece ensemble The Beats & Pieces Big Band, following their 4* debut earlier this year.

Both acts received rave reviews in The Guardian and Evening Standard.

Sandra Nicholls-Marcy, who writes for the Social Jazz Blog, and appeared as a guest blogger on the Serious site earlier this year, caught up with Ben Cottrell before they went on stage.

What’s been happening for you and the band since last year’s London Jazz Festival?

“The second UK tour, which included the London Jazz Festival, was a landmark as it showed us that people were really into what we were doing. After the Spice of Life we played Ronnie Scott's in January. The crowd and atmosphere were amazing - it was something of a seminal gig for us so we’re really excited to be returning to Ronnie’s during their Brit Jazz Fest.

“In March we went to Germany to play in the final of the European Young Artists' Jazz Award in Burghausen, which we went on to win ahead of bands from all over the continent.

“We’ve had some really great festivals this summer and did a show at the legendary Band on the Wall venue which we recorded for release later this year.”

Apart from winning, what was the highlight of your trip to Burghausen?

“I think probably the reception we had from everybody we met - audience members we passed in the street, the promoters and people associated with the festival and fellow performers. Chick Corea even said he might steal some ideas from our set - I’ll await his new album with interest. Also spending some time with the other guys in the band - it’s really rare that we all get together, even for gigs!”

What’s the most difficult thing about being a big band?

“The guys are always in demand as freelance musicians, so it’s really hard to get them all in the same place at the same time to rehearse. For gigs it’s not so bad, but I can’t really ask them to block out days in their diaries for unpaid rehearsals because they’ve all got bills to pay and their own freelance careers to think of. And there’s a few who’ve now moved away from Manchester so it’s even more difficult to get everybody together.”

Tell us about the Radiohead project?

“When I was a student at the Royal Northern College of Music, Colin Towns came and talked about how he approached the task of reimagining somebody else’s music. I thought I’d like to have a go at something similar and Radiohead have always been one of my favourite bands. It’s almost a bit of a cliché now for jazz musicians to play their music but there’s loads of interesting harmonies, time signatures and melodies. I’ve done several songs that we include in our live sets, but I want to concentrate on our own original music first to avoid becoming recognised as ‘that band that does the Radiohead covers’!”

What does it mean to be part of the strand of the Festival programme that focuses on a new generation of artists like Robert Glasper, Gretchen Parlato and Nik Bartsch?

“Serious and the London Jazz Festival have been amazingly supportive of both the band and me personally, right from when I sent them our first demo CD early last year, and including us in a programming strand with artists like these demonstrates that. It’s a massive honour to be bracketed with people we all admire, and we’re really looking forward to playing at Kings Place which is a great venue. And before that I’m planning on writing lots of new stuff that we’ll play for the first time at Kings Place so make sure you’re there to be among the first to hear it all.”

Beats & Pieces play Kings Place on Saturday 19 November and Kairos 4tet play the Vortex on Friday 11 November.

 *Take Five is a Jerwood Charitable Foundation/PRS for Music Foundation initiative. Additional support comes from Arts Council England and the Musicians Benevolent Fund. Take Five is produced by Serious. Click here for more info.