Record Reviews

HARRY BECKETT ~ JOY UNLIMITED CADILLAC 017 (Barcode: 5020675572485) ~ UK ~ Jazz-Rock-World Fusion Recorded: 1974 Released: 2020 This is a reissue / remaster of a classic album by British Jazz trumpeter / composer / bandleader Harry BeckettFind albums by this artist, recorded with a sextet, with also included keyboardist Brian MillerFind albums by this artist, guitarist Ray RussellFind albums by this artist, bassist Daryl RunswickFind albums by this artist, drummer Nigel MorrisFind albums by this artist and percussionist Martin DavidFind albums by this artist. The album presents six original compositions, all by Beckett. This long overdue reissue was prompted by the publication of Beckett’s biography “The Many Faces of Harry Beckett” by John ThurlowFind albums by this artist, who also wrote the new liner notes, which are featured on the album’s artwork, in addition to the original liner notes by John FordhamFind albums by this artist. The album, which was Beckett’s fourth release as a leader, was released by the small independent CadillacFind albums on this label Records label established by John JackFind albums by this artist in 1973, and which subsequently released several iconic British Jazz recordings, some of which are still waiting for a reissue. The music on this album is quite different from Beckett’s earlier recordings, which were more within the modern mainstream Jazz idiom. This album is however pure Jazz-Rock Fusion with some World Music influences, mostly rhythmically. In addition to Beckett’s brilliant trumpet parts, the rest of the instrumental work is highly charged by the electric guitar and keyboards, which take the music towards the British Fusion, which flourished at the time. Russell, Miller and Runswick play some highly exciting soli throughout the album, which could be easily associated with the Fusion bands active at the time, like IsotopeFind albums by this artist, Rock WorkshopFind albums by this artist, IfFind albums by this artist and many others. With the Latin / Caribbean rhythms added, this album is certainly quite unique and in retrospect deserves a much wider recognition than it managed to achieve. Overall, this is a classic British Jazz gem, worthy a proper place in any serious record collection. It should also be quite educational for the new generation of musicians, showing how cross-pollination and genre-crossing can lead to magnificent results, not to mention the respect due to all these wonderful musicians, who proved there are no limits to creativity. This is an absolute must of course and thanks to John’s initiative to make it available again, which he is practicing on the daily basis by running the Jazz In BritainFind albums on this label reissues label.

Updated: 18/02/2023Posted: 18/02/2023

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TUBBY HAYES ~ GRITS, BEANS AND GREENS: THE LOST FONTANA STUDIO SESSION 1969 FONTANA 602577569647 (Barcode: 602577569647) ~ UK ~ Jazz Recorded: 1969 Released: 2019 This is an archival “lost” studio album by British Jazz saxophonist / composer / bandleader Tubby HayesFind albums by this artist, recorded in a quartet setting with pianist Mick PyneFind albums by this artist, bassist Ron MathewsonFind albums by this artist and drummer Spike WellsFind albums by this artist. The album presents five tracks, three of which are original compositions by Hayes and two are standards. This is the single CD version of this album, which also exists as a 2CD album with eighteen tracks documenting the entire two-days recording sessions of this material. The album is accompanied by an extensive booklet with text by Simon SpillettFind albums by this artist, Hayes’ biographer. Recorded just four years before his premature death, Hayes is in absolute top form both as a composer and a player, and the quartet is an ideal vehicle to showcase his talents. Although deeply rooted in the American Jazz tradition, this music sparkles with modernism and is an integral part of the process of creating the British Jazz sound, which at the time of the recording was a boiling magma of young talent, but managed also to pull in many of the veterans as well. The sessions, which produced this album, were originally destined to produce the follow up album to the 1967 iconic release “Mexican GreenFind albums with this title”, but for many different reasons sank into oblivion, only to be re-discovered fifty years later. In retrospect, they are the last quartet studio recordings, with the great musician’s fate sealed by his habits and ill health. The same quartet was recorded live on several occasions and the splendid “The Complete Hopbine `69Find albums with this title” released by the Jazz In BritainFind albums on this label label offers a great document of their masterful performances together. Overall, this is a splendid example of Hayes’ Genius at its best, accompanied by three superb representatives of the British Jazz scene, which is an essential piece of Hayes legacy, as well as a proof of the importance of archival Jazz material, which is great to have and to return to. Wholeheartedly recommended!

Updated: 02/06/2023Posted: 02/06/2023

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HOLDSWORTH / WARLEIGH / MATHEWSON / SPRING ~ WARLEIGH MANOR JAZZ IN BRITAIN 01 ~ UK ~ Free Jazz / Improvised Music Recorded: 1979 Released: 2020 This is an archive album by a quartet of British Jazz musicians: guitarist Allan HoldsworthFind albums by this artist, saxophonist / flautist Ray WarleighFind albums by this artist, bassist Ron MathewsonFind albums by this artist and drummer Bryan SpringFind albums by this artist. Subtitled “The Ron Mathewson Tapes Vol. 1”, it presents an informal cassette tape recording of a session captured (probably) in 1979 and kept by the bassist, who recently donated his archives to Jazz in Britain Ltd. incorporating the British Jazz Sound Archive, a new not-for-profit organization whose aim is to collect, curate, preserve, celebrate and promote the legacy of British Jazz musicians. The archive collects, curates and preserves off-air and other recordings of British Jazz performances. This CD is their first release. The music reveals an almost completely unknown facet of Holdsworth playing spontaneous Improvised Music, rather than Jazz-Rock Fusion, an idiom he is generally associated with. In addition to playing guitar he also plays violin. The rest of the quartet members have of course a much better recognized experienced with Improvised Music / Free Jazz. The album presents just three lengthy pieces, about twenty-one, eighteen and finally eight minutes in duration. The first two pieces are completely improvised, whereas the last piece takes a turn into a more conventional Jazz playing. In retrospect this music is no more than a curio, as it does not offer any substantial glimpse into the history of British Jazz as such. Holdsworth is certainly a fish out of water on this session, and contrary to what the liner notes say, he was never really into Improvised Music. Yes, he always wanted to experiment and do his own thing and not to be told what to do, but he was a team player and needed a support of a strong rhythm section to keep him on track. His insanely wonderful guitar playing was complex enough by itself, and it needed a balance of more conventional co-players to make any musical sense. None of his idiosyncratic playing is reflected in this music. Of course Mathewson plays beautifully here, but his abilities are well documented by many other recordings. Warleigh plays some nice flute lines, but even he is not feeling very comfortable in this free form environment. As to Spring, his contributions are hardly audible. Improvised Music rarely survives the “recording” test. It might sound fine while being performed, with the interpersonal excitement of the moment, but listening to it forty years later might sadly prove to be a rather pointless exercise. Not every moment of musical history captured on tape deserves apparently to be preserved for posterity on record. Overall this album proves to be rather disappointing, but the idea behind Jazz in Britain and their aims is certainly worth pursuing, hopefully with more exciting finds in the future.

Updated: 26/03/2021Posted: 26/03/2021

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TUBBY HAYES ~ FREE FLIGHT JAZZ IN BRITAIN 05 (Barcode: 5060774190012) ~ UK ~ Jazz Recorded: 1972 Released: 2020 This is an archive album by iconic British Jazz multi-instrumentalist / composer Tubby HayesFind albums by this artist recorded live with his quartet, which included pianist Mick PyneFind albums by this artist, bassist Ron MathewsonFind albums by this artist and drummer Tony LevinFind albums by this artist. Subtitled “The Ron Mathewson Tapes Vol. 3”, it presents an informal cassette tape recording of a gig at the Ronnie ScottFind albums by this artist’s club made on 17th or 18th October 1972, just nine month prior to his Hayes’ death at the ridiculous young age of thirty-eight, kept by the bassist, who recently donated his archives to Jazz in Britain Ltd. incorporating the British Jazz Sound Archive, a new not-for-profit organization whose aim is to collect, curate, preserve, celebrate and promote the legacy of British Jazz musicians. The archive collects, curates and preserves off-air and other recordings of British Jazz performances. This CD is their fifth release. The 2CD album presents eight tracks, five lengthy ones (about fifteen minutes in duration), one shorter (eight minutes) and two incomplete tracks, obviously a result of the cassette reaching its end before the set was over. Five of the tracks are standards and three are Hayes originals. The album also includes extensive liner notes by Simon SpilllettFind albums by this artist, a Hayes specialist and author of the definitive Hayes biography “The Long Shadow of The Little Giant: The Life, Work and Legacy of Tubby Hayes”. Hayes was obviously a superb instrumentalist, recognized as a champion not only in UK, but also over the pond, where his virtuosity simply could not be ignored despite the usual condescending attitude towards European Jazz musicians by their American colleagues. Hayes was after all first and foremost deeply rooted in the American Jazz tradition and his more modernist approach, developed in the last period of his activity, was relatively limited in comparison to other British Jazz innovators, who were slaughtering Holly Cows by the herd. The music is basically pretty placid, with excellent performances by all the musicians, but nothing really out of the ordinary. The chatter and background noise add to the authenticity of the live recording and the sound quality is listenable, so this is definitely a pleasurable listening experience and a valuable document of the British Jazz scene at the time, but it does not add anything that is not available on the plethora of posthumous releases by Hayes already available on the market.

Updated: 28/06/2021Posted: 31/03/2021

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JOE HARRIOTT ~ CHRONOLOGY LIVE 1968-69 JAZZ IN BRITAIN 09 (Barcode: 5060774190241) ~ UK ~ Jazz Recorded: 1968 - 1969 Released: 2021 This is an archival album by the British saxophonist / composer Joe HarriottFind albums by this artist. The album presents five tracks by Harriott’s quintet with trumpeter Kenny WheelerFind albums by this artist, pianist Pat SmytheFind albums by this artist, bassist Ron MathewsonFind albums by this artist and drummer Bill EydenFind albums by this artist and two tracks recorded with the Harry South Big BandFind albums by this artist, which included many of the top British Jazz players of the time. One of the tracks is a Harriott original and another is a Wheeler original and the rest are standards. Although Harriott passed like a comet over the British Jazz firmament, he was certainly a key figure, a sage and a pioneer, light-years ahead of most of his peers. His own original Free Jazz ideas, some of the earliest on the global Jazz timeline, were so advanced and unique that even the shortsighted American Jazz clique recognized them as revolutionary and Harriott was the first British Jazz musician to receive a five-star review in the US DownBeat magazine. His first two albums, including the iconic “Free FormFind albums with this title” (1960), were also released in the US, followed by two UK releases: “AbstractFind albums with this title” (1962) and “MovementFind albums with this title” (1963), a threesome that defined the British Jazz emancipation. His involvement in the pioneering Jazz-World Fusion with John MayerFind albums by this artist, which resulted in the “Indo-Jazz Fusions” recordings was another glorious achievement. The music present on this album is one of the latest evidence of his recording career, which completely ceased by 1970, and his last years, ridden by illness remain tragically silent until his death in 1973. By the late 1960s Harriott returned to play conventional, Bebop based music, often with some Caribbean influences, which is what we can hear here. He is still a brilliant saxophonist by all means, and his performances, as well as those of his quintet members and the Big Band, are all definitely worth hearing, albeit by far less exciting than his earlier work. Although the recordings are mono, the sound quality is acceptable and allows the listener to enjoy the music in full. Kenny Wheeler does steal the show here and there, as expected. Considering the fact that this music was previously unreleased, this is a worthy edition to Harriott’s recorded legacy. This CD release, made following an earlier LP release of this material, is a step in the right direction, which means that the people behind the Jazz In BritainFind albums on this label listen to our voices and are not completely blinded by the vinyl hype. Good work Guys!

Updated: 24/07/2021Posted: 24/07/2021

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GORDON BECK / GYROSCOPE ~ PROGRESS JAZZ IN BRITAIN 12 (Barcode: 5060774190777) ~ UK ~ Jazz Recorded: 1973 - 1974 Released: 2024 This is an archival album by the British pianist / composer / bandleader Gordon BeckFind albums by this artist, which collects the available recordings of the short-lived GyroscopeFind albums by this artist ensemble from 1973 and 1974. The work on this project goes back a few years, to the early days of the Jazz In BritainFind albums on this label label, and after being delayed for various reasons, was finally released in 2024. The convoluted story of the “making of…” is described in the wonderfully informative extended booklet, included with the 3CD album. The album presents eighteen lengthy tracks, sourced from rehearsals, live gigs and radio broadcasts. Four of these tracks were previously released on cassette only on Beck’s JaguarFind albums on this label Records label as “One, Two, Three… Go!Find albums with this title”, and the rest are all previously unreleased. Gyroscope consisted of Beck on piano / electric piano, saxophonist / flautist Brian SmithFind albums by this artist, vibraphonist Frank RicottiFind albums by this artist, bassist Ron MathewsonFind albums by this artist and drummer Tony LevinFind albums by this artist. Saxophonist / flautist Stan SulzmannFind albums by this artist replaced Smith in late 1973. The music, as expected, is absolutely brilliant, which is not surprising to anybody familiar with Beck’s work as leader and sideman. His extensive recorded legacy, which spans over thirty albums, is full of sublime music, which has always been one of my personal British Jazz favorites. His 1980s / 1990s releases on French OwlFind albums on this label and JMSFind albums on this label labels are among my favorites, but everything he recorded was blessed by his incredible talent and good taste. These early 1970s recordings are especially interesting for two reasons: Firstly, the extensive use of the electric piano: Beck was enamored with the instrument and managed to create way more than one would expect was possible from the limited (in comparison to the acoustic piano) instrumented, being a true innovator, which is plainly audible on this album. Secondly, the stylistic freedom, which was somewhat typical at the time especially in British Jazz, which allowed an unrestrained mixture of Jazz subgenres to united “under one roof” so to speak. As a result, we can hear on this album Latin, Funk, Modern Jazz, Modal, post-Bebop and even some Free Jazz touches, which swiftly move from one to the other, in complete fluency and harmony. Overall, this is a true gem of an album, worth the long wait, which is richly rewarded by the sublime musical content. For me it is one of the most important Jazz In Britain releases so far, not only because of my personal love of everything Gordon Beck related, but because it offers a comprehensive, well researched and put together piece of British Jazz history. As such, it is of course absolutely essential to all British Jazz lovers!

Updated: 12/01/2025Posted: 12/01/2025

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GROUP SOUNDS FOUR & FIVE ~ BLACK & WHITE RAGA JAZZ IN BRITAIN 14 (Barcode: 5060774190128) ~ UK ~ Jazz Recorded: 1965 - 1966 Released: 2021 This is an archival album by the British Jazz quintet Group Sounds FiveFind albums by this artist, and quartet Group Sounds FourFind albums by this artist, both offspring of the quintet founded by trumpeter Henry LowtherFind albums by this artist and saxophonist Lyn DobsonFind albums by this artist, which also included pianist Ken McCarthyFind albums by this artist, bassist Ron RubinFind albums by this artist and drummer Jon HisemanFind albums by this artist. The quartet includes Lowther, Dobson, Jack BruceFind albums by this artist on bass and Hiseman. The album presents four tracks by the quintet and three tracks by the quartet, all taken from radio broadcasts. The material includes original compositions by Bruce, Dobson and McCarthy, a couple of standards, a piece by John ColtraneFind albums by this artist and a piece by Mike TaylorFind albums by this artist. The music is everything one might expect to hear at the time by British Jazz musicians, who were defining the modern British sound, still very much entangled into the Bebop tradition on one side, and searching to find their own voice on the other. There is enough originality and innovation herein to make it a fascinating historic document of the era. Of course the three quartet tracks with Bruce are especially interesting, both because his rare appearance in the strict Jazz idiom and his very open, almost free composition included here, which is a preamble to his wonderful “Things We LikeFind albums with this title” album recorded a couple of years later. The quintet tracks are slightly less challenging, but the title track, which lasts for twelve minutes, is a masterpiece in every respect. The personal performances are stellar, including Hiseman, who takes a long solo both with the quartet and the quintet. Although the quintet offers a “bigger” sound, the piano is somewhat under-recorded and lost in the mix, which is a pity. But the overall sound quality however is excellent and the music sounds bright and clear. Overall this is the most interesting CD release by the new Jazz In Britain label so far, hopefully pointing in the right direction. For British Jazz fans, who wish to learn more about the birth of the unique character of late 1960s sound, which revolutionized the idiom, this album is the “missing link” and an absolute must have.

Updated: 23/07/2021Posted: 16/04/2021

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DON RENDELL / IAN CARR QUINTET ~ BLUE BEGINNINGS JAZZ IN BRITAIN 20 (Barcode: 5060774190234) ~ UK ~ Jazz Recorded: 1964 Released: 2021 This is an archival album by the first lineup of the seminal British Jazz quintet co-led by saxophonist / flautist Don RendellFind albums by this artist and trumpeter Ian CarrFind albums by this artist, which also included pianist Colin PurbrookFind albums by this artist, bassist Dave GreenFind albums by this artist and drummer Trevor TomkinsFind albums by this artist. The album presents two BBC sessions, the first from April 1964 (two tracks) captured before the quintet recorded their first album “Shades Of BlueFind albums with this title” and the second from November 1964 (six tracks) shortly after the studio recording which took place in October 1964. The first session presents one live version of a track, which will appear on the studio album and one standard and the second session presents five live versions of the material present on the studio album and one standard. Most of the original material consists of compositions by Rendell and Carr and the title track of the studio album was composed by Neil ArdleyFind albums by this artist of course. These sessions show vividly the giant step the quintet made between recording the debut album with Purbrook on piano in 1964, which was almost completely conventional and Bee Bop oriented, and the following albums with Garrick on piano, starting with second album recorded in 1965, where the quintet turns into the amazing modern Jazz ensemble passing the equinox which marks the birth of modern British Jazz. Garrick was not only a brilliant and farsighted pianist but also the most prolific composer, which of course strengthened the quintet’s output considerably. Despite the fact that the music here is pretty conventional, as far as the Jazz tradition is concerned, on the verge of change but not quite yet, the fact that it is the first time it appears on record, this album is worth its weight in gold, not only to British / European Jazz enthusiasts but all modern Jazz lovers around the world. In view of the relatively limited recorded legacy by this legendary quintet, this stuff is absolutely essential! As usual kudos to the Jazz In BritainFind albums on this label label people, who dared to make this dream of a label to come true.

Updated: 18/07/2021Posted: 18/07/2021

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NEIL ARDLEY ~ KALEIDOSCOPE OF RAINBOWS LIVE `75 JAZZ IN BRITAIN 21 (Barcode: 5060774190142) ~ UK ~ Jazz-Classical Fusion Recorded: 1975 Released: 2021 This is an archival album by British keyboardist / composer / bandleader Neil ArdleyFind albums by this artist, which presents a live recording of his orchestral piece entitled “Kaleidoscope Of RainbowsFind albums with this title”, originally commissioned by the London Borough of Camden and supported by the Arts Council of Great Britain (those were the days!), premiered at the legendary Roundhouse in October of 1974 by a Jazz Big Band / Orchestra. The version performed here, one year later, is somewhat revised and expanded, recorded, with Ardley conducting of course, by a smaller and much tighter group of Top British Jazz musicians at the time, all of which took part in the studio recording of the seminal “Kaleidoscope Of Rainbows” album, which was recorded a few months later in 1976 and released the same year. The lineup includes the members of NucleusFind albums by this artist led by trumpeter Ian CarrFind albums by this artist with saxophonist Bob BertlesFind albums by this artist, keyboardist Geoff CastleFind albums by this artist, guitarist Ken ShawFind albums by this artist, bassist Roger SuttonFind albums by this artist and drummer Roger SellersFind albums by this artist. Additionally, the collective lineup adds saxophonists Brian SmithFind albums by this artist, Tony CoeFind albums by this artist and Barbara ThompsonFind albums by this artist, keyboardist Dave MacRaeFind albums by this artist, cellist Paul BuckmasterFind albums by this artist and percussionist Trevor TomkinsFind albums by this artist. The lineup that recorded the studio album also included guests: saxophonist Stan SulzmannFind albums by this artist and keyboardist John TaylorFind albums by this artist, who are not present here. The 2CD album presents sixteen tracks, timing at 103 minutes, which have been later combined and condensed into nine tracks, timing about half of that time, as released on the studio album. Therefore, this album, which presents the full extent of Ardley’s vision for his work, is extremely important and the fact that it is available here for the first time is truly a momentous occasion and a milestone of British Jazz history. “Kaleidoscope Of Rainbows” is the last part of a triptych of orchestral works by Ardley, which also includes the earlier “The Greek VariationsFind albums with this title” and “A Symphony Of AmaranthsFind albums with this title”. All three pieces are based on a concept of taking a limited musical element and expanding it into a large framework. Ardley would create one more orchestral piece a couple of years later (1978), called “Harmony Of The SpheresFind albums with this title”, before he embraced a career as author and composer of choral music. The music follows the pattern of earlier Ardley’s works, amalgamating Jazz with World Music elements and heavily influenced by the minimal music concepts of repetition and slowly developing / cyclic repetition, all brilliantly put together and masterly executed by all the participants. Although structurally the music is not Jazz per se, the soloing, improvising and phrasing are indeed very Jazzy (not surprisingly), and with the expanded format of the piece, are more prominently featured here that on the more disciplined studio version. Ardley, together with Mike WestbrookFind albums by this artist and Michael GibbsFind albums by this artist constitute the triumvirate of the British Jazz orchestral composers / bandleaders, who offered a completely revised alternative to American Big Band Jazz, taking it into entirely new musical spheres, artistic heights and European aesthetic values, which still reverberate in contemporary music. As usual praise goes to the Jazz In BritainFind albums on this label label for unearthing this music and releasing it on CD. Please keep up the good work, as nobody else has the stamina, energy and passion to do it and these reissues are way too good to remain hidden in the vaults.

Updated: 03/07/2021Posted: 03/07/2021

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RAY RUSSELL SEXTET ~ FORGET TO REMEMBER JAZZ IN BRITAIN 22 (Barcode: 5060774190166) ~ UK ~ Jazz Recorded: 1970 Released: 2021 This is an archival album by British Jazz guitarist / composer Ray RussellFind albums by this artist, which presents a BBC session recorded in a sextet setting with trumpeter Harry BeckettFind albums by this artist, saxophonist Tony RobertsFind albums by this artist, trombonist Nick EvansFind albums by this artist, bassist Daryl RunswickFind albums by this artist and drummer Alan RushtonFind albums by this artist. The album presets seven tracks, five original compositions by Russell, two appearing twice in alternate versions. Before this session Russell already recorded and released two seminal albums for CBSFind albums on this label (“Turn CircleFind albums with this title” and “Dragon HillFind albums with this title”) and some of the material present here would appear later on his third studio album (also on CBS) “Rites And RitualsFind albums with this title”. The music is already deeply within the modern British Jazz mold, which developed around that time, plunging into open formats and Free Improvisation, but still based on clear melodic phrases serving as the starting points of each tune. Russell offered a completely idiosyncratic style, merging Rock attack with Jazz chord delivery, which made him a new voice on the scene. He eschewed the Fusion direction, staying firmly within the Jazz idiom at the time, sounding like an angry John McLaughlinFind albums by this artist on speed, but completely himself. His soloing on this album, which is much more opened than on the studio recordings, is absolutely hair-raising and deserves to be heard, since after fifty years of Jazz guitar there are very few examples of a more imaginative approach. The other players support the leader amicably, with Beckett taking the rest of the soloing under his wings and the other two brass players heard mostly on the intros and outros but also soloing from time to time. The rhythm section is brilliant all the way and manages to swing gracefully despite the rather overall Free atmosphere. With the usual BBC sound quality, this is a superb document of the era, obviously worth being heard by the fans of the period. Guitar freaks are in for quite a surprise obviously, so here it is, five decades old and still alive and kicking. Good job with keeping this music alive.

Updated: 30/05/2021Posted: 30/05/2021

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MIKE TAYLOR ~ MANDALA JAZZ IN BRITAIN 23 (Barcode: 5060774190173) ~ UK ~ Jazz Recorded: 1965 Released: 2021 This is an archival album by British Jazz pianist / composer Mike TaylorFind albums by this artist, one of the mythical figures of the British Jazz scene, due to his tragic death at a ridiculous young age and an extremely limited recorded legacy. Taylor recorded only two albums (“PendulumFind albums with this title” 1966 and “TrioFind albums with this title” 1967) before he died at the age of 30 in 1969. The album presents a live recording of five tracks, captured nine months before this lineup recorded Taylor’s debut album “Pendulum”. He is accompanied by saxophonist Dave TomlinFind albums by this artist, bassist Tony ReevesFind albums by this artist and drummer Jon HisemanFind albums by this artist. Of the five tracks one is a standard and four are original composition by Taylor, two of which appear on the tribute album “Mike Taylor RememberedFind albums with this title” by Neil ArdleyFind albums by this artist. Although the music on this album is by far not as revolutionary or groundbreaking as on “Pendulum”, it is a time capsule of a work in progress, which eventually brought the quartet together into the perfection demonstrated on the debut album and which would make Taylor to crystalize his musical ideas to break the barriers of “swing” and John ColtraneFind albums by this artist’s influence, to achieve the Freedom the debut albums so potently demonstrates. The sound quality of the recording is far from ideal, but certainly good enough to enjoy the music and hear some details. Hiseman is way up in the mix while Reeves is almost inaudible, and the piano is also far behind the saxophone, which takes most of the soloing space. The deconstruction of Thelonious MonkFind albums by this artist’s tune is definitely not as radical as on the debut, but comparing the two versions again shows a path Taylor and his quartet were taking. Overall this is splendid document of the era and the formative years of independent British Jazz, which is not following the American influence any more than absolutely necessary. Tomlin bravely takes upon himself the front-line responsibilities, with Taylor pushing the music from behind, and obviously exploring new ground. The rhythm section is absolutely perfect for the job, with Reeves’ musicality and Hiseman’s technical brilliance laying out a firm basis for the two soloists. However, the album also shows clearly how difficult it was to boldly step into the Free / open playing at this time, and the music is at all times strongly bonded to “swinging” at all cost, despite the relative freedom Taylor demonstrates while playing his odd chord sequences behind the swinging foreground. Overall this is a first class discovery, which blissfully appears on record five and a half decades later, which should make every true British Jazz fan happy. Kudos to Jazz In Britain for digging this one out and bringing it up to the surface!

Updated: 06/06/2021Posted: 06/06/2021

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MICHAEL GIBBS ~ REVISITING TANGLEWOOD 63: THE EARLY TAPES JAZZ IN BRITAIN 24 (Barcode: 5060774190227) ~ UK ~ Big Band Jazz Recorded: 1970 Released: 2021 This is an archival album by British trombonist / composer / bandleader Michael GibbsFind albums by this artist, which presents two radio broadcasts of live sessions, recorded in May and November of 1970. The lineups of the Orchestra / Big Band (thirteen or sixteen members respectively) consists of Top British Jazz musicians at the time, some of which took part in the recording of the seminal “Tanglewood 63Find albums with this title” album, which was recorded shortly after the second session. The collective personnel includes: trumpeters Henry LowtherFind albums by this artist, Nigel CarterFind albums by this artist and Harold BeckettFind albums by this artist, trombonists Malcolm GriffithsFind albums by this artist, Chris PyneFind albums by this artist and Gibbs, tuba player Dick HartFind albums by this artist, saxophonists Stan SulzmannFind albums by this artist, Alan SkidmoreFind albums by this artist, Jim PhillipFind albums by this artist and Tony RobertsFind albums by this artist, pianist Mick PyneFind albums by this artist, guitarist Chris SpeddingFind albums by this artist, bass guitarist Roy BabbingtonFind albums by this artist, bassist Jeff ClyneFind albums by this artist, drummers John MarshallFind albums by this artist and Clive ThackerFind albums by this artist and finally vibraphonist / percussionist Frank RicottiFind albums by this artist. The album presents seven tracks, four from the first session and three from the second. Those include all five compositions included on the “Tanglewood 63” album. In addition, it also presents “Country RoadsFind albums with this title”, written by Gary Burton and Steve Swallow, which appeared first on the Burton’s 1968 album by the same name, which included a couple of compositions by Gibbs and one co-composed piece by Gibbs and Burton, and which would have to wait for a couple of years to appear on the 1972 Gibbs “Just AheadFind albums with this title” album. The last track is “June The 15, 1967”, which appeared initially on the Burton’s 1967 “Lofty Fake AnagramsFind albums with this title” album, which also included two compositions by Gibbs, including this one, and which would have to wait for forty-two years to appear on the 2012 Gibbs “Back In The DaysFind albums with this title” album. The music is, as everything Gibbs ever recorded, absolutely heavenly, both as far as the compositions and the performances are concerned. The formidable team of musicians, under his direction, is able to achieve peaks never earlier encountered in British Jazz orchestral music, and these archival recordings are absolutely fascinating, especially when compared to the final version of most of the music included here, recorded on the “Tanglewood 63” album. So far, this is definitely my favorite release on the new Jazz In BritainFind albums on this label label, which does a splendid job digging out treasures from dusty vaults, especially so because this album also offers the best sound quality of all their releases so far. So as usual, hats off for the team behind the label and waiting for more of your gems. A bit more attention to details won’t hurt…

Updated: 29/06/2021Posted: 28/06/2021

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IAN CARR DOUBLE QUINTET ~ SOLAR SESSION JAZZ IN BRITAIN 25 (Barcode: 5060774190227) ~ UK ~ Jazz-Rock Fusion Recorded: 1970 Released: 2021 This is an archival album by British trumpeter / composer / bandleader / author Ian CarrFind albums by this artist, which presents a radio broadcast of a live session, recorded in October of 1970. The lineup is a tentet (or double quintet), which consists of Top British Jazz musicians of the time, some of which were members of Carr’s band NucleusFind albums by this artist at the time and other were invited to record the Nucleus third album “Solar PlexusFind albums with this title”: trumpeter Harold BeckettFind albums by this artist, saxophonists Brian SmithFind albums by this artist and Tony RobertsFind albums by this artist, bass clarinetist Karl JenkinsFind albums by this artist, guitarist Chris SpeddingFind albums by this artist, bass guitarist Ron MathewsonFind albums by this artist, bassist Jeff ClyneFind albums by this artist, drummer John MarshallFind albums by this artist, percussionist Chris KaranFind albums by this artist and finally synthesizer (VCS3) player Keith WinterFind albums by this artist. The album presents five tracks and the total playing time is only twenty-six minutes, which makes it rather an EP than a full CD. Perhaps with some patience more Ian Carr’s archival material might have been discovered to make this a more significant release, which of course does not undermine the value of the material included herein. The sound quality of this material is quite flat and a proper remaster might have added some glamour. This session was recorded shortly before the recording of “Solar Plexus” commenced, and includes abridged versions of most of the material that was eventually included on that album, which in today’s terms would have been called a “sneak preview”. The lineup misses the great Kenny WheelerFind albums by this artist, who took part in the recording of the “Solar Plexus” album, playing on some tracks, alongside Beckett, who played on the other tracks. The music, as wonderful as it is, appears somewhat hesitant and slightly “undercooked” in comparison to the future album’s versions, which makes this release slightly less essential than most of the Jazz In BritainFind albums on this label releases so far, but for Carr / Nucleus completists is probably essential. Overall this album is definitely worth investigating, although does not add anything highly significant to Ian Carr’s recorded legacy as such. As usual kudos to the label for digging this material up.

Updated: 22/06/2021Posted: 22/06/2021

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SPLINTERS ~ INCLUSIVITY JAZZ IN BRITAIN 26 (Barcode: 5060774190258) ~ UK ~ Free Jazz / Improvised Music Recorded: 1972 Released: 2021 This is an archival 3CD album by British Jazz supergroup SplintersFind albums by this artist, which presents two live recordings, both from 1972, the first at the legendary London 100 Club (on CD 1 and 2) and the second from the opening night at the (then) newly opened Grass Roots club (on CD 3). The music was captured on cassettes and was carefully restored to today’s standard as far as possible. The 100 Club material was previously released in part by the Reel RecordingsFind albums on this label label in 2009 as “Split The DifferenceFind albums with this title”, and is here presented in its full form and the Grass Roots material is previously unreleased. The album is released in a lavish LP sized book format, and includes beautiful photographs by Jack KirbyFind albums by this artist and extensive essay by Simon SpillettFind albums by this artist – an obvious work of love and dedication, which is the modus operandi of the Jazz In BritainFind albums on this label label. The Splinters collective is truly unique in every sense, but the most striking trait of this ensemble is the meeting of generations, united by the inner urge to express their musical ideas as expressively and unrestrictedly as humanly possible. Three of the protagonists of this session, pianist Stan TraceyFind albums by this artist (b. 1926), who appears on CD 1 and 3 only, drummer Phil SeamenFind albums by this artist (b. 1926) and saxophonist Tubby HayesFind albums by this artist (b. 1935) were already British Jazz legends at the time of this recording, with years of experience and established careers to their credit. All were immensely influential on the then growing up generation of the British New Wave of rebellious young players, who wished to emancipate the music they played from the restrictions of strict Jazz forms, patterns and rhythmical uniformity established since the genre´s conception and developed during its first half century in the USA. Tracey, Seamen and Hayes were the necessary missing link between the Jazz tradition and the gradual but revolutionary development that occurred in British Jazz from the mid-1960s on. Surprisingly, Tracey and Seamen, both older than Hayes, proved to be the more adventurous, shunning from nothing and keeping their sensitivity completely up to date. Tracey fully embraced Free Jazz and Improvised Music and Seamen was active not only in the Jazz area, but also took part in early Jazz-Rock, Rock and even early World-Jazz activities, mainly through his faithful pupil and protégé Ginger BakerFind albums by this artist. Hayes remained somewhat more "conventional", expanding his Bebop approach with some freedom, but remaining firmly within the established parameters. Perhaps the future might have proved differently, but Hayes died prematurely just a year after this music was recorded. The rest of the "crew" captured here: saxophonist Trevor WattsFind albums by this artist (b. 1939), who taped this music and was the initiator behind Splinters, trumpeter Kenny WheelerFind albums by this artist (b. 1930), bassist Jeff ClyneFind albums by this artist (b. 1937) and drummer John StevensFind albums by this artist (b. 1940), were the (not necessarily chronologically, but definitely spiritually) young Lions spearheading British Jazz into a new direction. The idea behind this session was to provide an open and most importantly completely free of any pre-conceptions environment for the musicians to express their ideas. Overall, as with much contemporary Jazz at the time, the idea of free flow and mutual respectful listening is the core of creation here. The music consists of long improvised pieces, with no strict melody lines, but full of very "melodic" playing, which makes perfect sense musically. This is group improvisation at its best, full of musical interplay and mutual inspiration respectful of each other´s "moment" and bearing at each particular instant. In many respects this is a classic "textbook" recording, which could be used as a perfect demonstration of what group improvisation really is. As someone must have said sometime: "you can´t plan lovemaking", this music, although unplanned, is a pure work of love. Beyond essential!

Updated: 07/12/2021Posted: 07/12/2021

CD 3 Digibook Remastered Essential Recommend To A Friend

CHRIS LAURENCE ~ KEN WHEELER: SOME GNU ONES JAZZ IN BRITAIN 29 (Barcode: 5060774190296) ~ UK ~ Jazz Recorded: 2020 - 2021 Released: 2021 This is a wonderful EP album by British Jazz bassist / composer Chris LaurenceFind albums by this artist, which presents three pieces composed by the iconic British (of Canadian origin) trumpeter / composer Kenny WheelerFind albums by this artist specifically for Laurence. Two of the pieces were given to Laurence in manuscript form, one of them in incomplete form, which was finalized especially for this recording by Pete ChurchillFind albums by this artist. One of the pieces (“C-Man”) was recorded on the legendary 1992 “KayakFind albums with this title” album by Wheeler, featuring Laurence on bass. The music was beautifully recorded by a superb team, which includes, alongside Laurence, vibraphonist Frank RicottiFind albums by this artist, guitarist John ParricelliFind albums by this artist, drummer Martin FranceFind albums by this artist, trumpeter Tom WalshFind albums by this artist and a string quintet. The music is everything one could expect from Wheeler’s compositions, a dreamy, lyrical and superbly melodic Jazz, which is completely timeless and eternal. The superb recording quality and the performances by the participating musicians are nothing short of heavenly. Overall, this is a true “two birds with one stone”: Wheeler’s sublime music and the playing of Laurence, who has for so long been an unheralded hero of the British Jazz scene, a highly sensitive and totally reliable musician. Despite the less than half an hour time mark, this is an immediate classic recording, which deserves an honorable place in every decent British Jazz collection. Again well done by the small crew of the Jazz In BritainFind albums on this label label.

Updated: 12/12/2021Posted: 12/12/2021

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TUBBY HAYES ~ THE COMPLETE HOPBINE `69 JAZZ IN BRITAIN 30 (Barcode: 5060774190319) ~ UK ~ Jazz Recorded: 1969 Released: 2021 This is an archival album by British Jazz saxophonist / composer Tubby HayesFind albums by this artist recorded in a quartet setting with pianist Mick PyneFind albums by this artist, bassist Ron MathewsonFind albums by this artist and drummer Spike WellsFind albums by this artist. The music, which was recorded live at the Hopbine club, was taken from the Mathewson tape archive. It presents eight tracks, three of which are Hayes’ originals and five are standards. The album includes an extensive twenty-eight pages long booklet, written by Hayes’ biographer Simon SpillettFind albums by this artist. The tape is a mono recording, but the sound quality is excellent and way better than the other sources of this material, which were previously released on two other albums, and the music can be heard loud and clear. One of the tracks is released here for the first time and this is the first time this performance can he heard in its entirety. In many respects this recording marks a closing of a glorious career by one of the British Jazz greatest personalities, who would be dead just three and a half years after this music was recorded, ridden by ill health. It is also of course a wonderful glimpse at the birth of modern British Jazz, partly influenced by the Free Jazz explosion in American Jazz at the time, but still very much within modern mainstream, reshaped and domesticated into the unique British experience, which eventually emancipated British Jazz from the American bondage. These performances are obviously more spontaneous than those captured on the studio albums Hates recorded at the time and all showcase the great talents of the four musicians involved. Pyne, Mathewson (both sadly not with us any more) and Wells (hopefully destined to stay with us for many more years) show their talents here in full and Hayes’ fluency and artistry remain unparalleled. Interestingly, John ColtraneFind albums by this artist influence on Hayes’ playing is more distinctly heard here than on most other recordings he made. Overall, this is a most welcome addition to Tubby Hayes recorded legacy and British Jazz fans surely will appreciate the work and dedication of the people behind the Jazz In BritainFind albums on this label label, who keep bringing us these wonderful releases and keep the history of British Jazz alive. Absolutely essential part of any serious British Jazz collection.

Updated: 27/01/2022Posted: 27/01/2022

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JOHN TAYLOR SEXTET ~ FRAGMENT JAZZ IN BRITAIN 32 (Barcode: 5060774190326) ~ UK ~ Jazz Recorded: 1975 Released: 2022 This is a reissue / remaster of the album recorded by the British pianist / composer John TaylorFind albums by this artist and his sextet, which also included trumpeter Kenny WheelerFind albums by this artist, saxophonist Stan SulzmannFind albums by this artist, trombonist Chris PyneFind albums by this artist, bassist Chris LaurenceFind albums by this artist and drummer Tony LevinFind albums by this artist. The album was originally released on cassette only on the legendary JaguarFind albums on this label label, owned by pianist / composer Gordon BeckFind albums by this artist. The album presents eight original compositions, all by the leader. The music is a superb example of the iconoclastic British Jazz, which reached its peak in the mid-1970s after several years of dramatic development, which characterized the scene since the late 1960s. The British Jazz managed to crystalize its very own sound and feel, which was instantly recognizable, even though it encompassed an astonishing variety of musical styles, ranging from almost mainstream / melody based Jazz to extreme Avant Garde. Of course those individuals / ensembles, which knew how to embrace both the charm of a beautiful melody and the powerful expressiveness of complex improvisation, like the sextet present on this recording, were the most effective. The six individuals playing here were all top British Jazz Artists at the time, each with his own rich legacy already in place by the time this music was recorded. It was an “all stars” ensemble by any standard, but of course there was nothing extraordinary about it, as almost every other ensemble on the scene at the time could be also acknowledged as an “all stars” gathering, since the scene was literally exploding with talent and activity. Over the years John Taylor created an immense body of Jazz compositions and an extensive recorded legacy, which reflect his sublime ability to weave an intricate, yet romantic melody. His life-long cooperation with Wheeler, widely documented on record, was one of the most fruitful Jazz engines in retrospect, but no Taylor discography could be complete without this particular album, which for so many years remained a hidden secret shared by the British Jazz fanatics. The fact that it is now reissued is a true milestone for the excellent Jazz In BritainFind albums on this label label, which never ceases to surprise and delight those of us, who truly love this music. Overall, this is a monumental release as far as British Jazz is concerned, closing a major gap in so many record collections of dedicated fans, all of which are both happy and grateful. The great talent of Taylor, the superb performances by Wheeler and the rest of the sextet members, and most importantly the everlasting magic of the music, which is every bit as fresh as it was at the time it was recorded, all come together to create a “crown jewel” of an album, which no British Jazz fan can ignore. Thank you Gentlemen for your labor of love, which we all enjoy.

Updated: 13/07/2022Posted: 13/07/2022

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BOBBY WELLINS QUARTET ~ WHAT WAS HAPPENING JAZZ IN BRITAIN 33 (Barcode: 5060774190340) ~ UK ~ Jazz Recorded: 1978 - 1979 Released: 2023 This is a 2CD reissue / remaster of two albums by British Jazz saxophonist / composer Bobby WellinsFind albums by this artist, recorded in a classic quartet setting with keyboardist Pete JacobsenFind albums by this artist, bassist Adrian KendonFind albums by this artist and drummer Spike WellsFind albums by this artist. CD1 presents the album “JubilationFind albums with this title”, a live recording with four tracks, all original compositions by Wellins. It is expanded by three bonus tracks, also recorded live a few months earlier, all standards. CD2 presents the album “Dreams Are FreeFind albums with this title”, a studio recording with six tracks, all original compositions by Wellins. It is expanded by four bonus tracks, recorded live, all standards. As usual with the good people of Jazz In Britain label, the album is accompanied by extensive booklet, which presents background information about these recordings and new liner notes by Wells, whose reel tape archive was the source of the bonus material. Although the sound quality is not always perfect, it is certainly good enough to enjoy this splendid example of British Jazz at its best. Wellins was sadly badly under-recorded and most of his early releases, including his first two albums included herein, are all long unavailable, which makes this release ever more important. He was a very fluid improviser, always floating somewhere between mainstream and almost Free, and his unique approach aged very well, still being fascinating today. The three musicians accompanying Wellins are all highly talented and prove to be perfect for the job at hand. Overall, this is another piece of British Jazz history, saved from oblivion by the dedicated people, who do it best. Since time is certainly not standing still, it’s great to see the heroes of the genre, who are still with us, contribute their archival materials and memories to make these momentous documents. I find it absolutely outrageous that these efforts are not sponsored by Public funding, but sadly England is by far not the only country that cares little for its Cultural heritage. Hats off, as usual and thanks for your work Gentlemen!

Updated: 01/04/2024Posted: 01/04/2024

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HENRY LOWTHER / QUARTERNITY ~ NEVER NEVER LAND JAZZ IN BRITAIN 36 (Barcode: 5060774190388) ~ UK ~ Jazz Recorded: 1974 - 1978 Released: 2022 This is a sensational archival album by one of the silent heroes of the British Jazz scene, trumpeter / violinist / composer Henry LowtherFind albums by this artist and his quartet QuarternityFind albums by this artist, with guitarist Phil LeeFind albums by this artist, bassist Dave GreenFind albums by this artist and drummer Trevor TomkinsFind albums by this artist, which was expanded often to a quintet with saxophonists Art ThemenFind albums by this artist or Alan WakemanFind albums by this artist. This double album collects twelve compositions by Lowther or Lee, one of which appears twice, in a quartet and quintet versions. The music was recorded live between 1974 and 1978, but the sound quality is absolutely impeccable considering the archival nature of these recordings. Lowther’s name appears proudly on well over a hundred albums recorded over the years, including some of the British Jazz most iconic releases, but his recording legacy includes just one (yes ONE) album as a leader, “Child SongFind albums with this title”, recorded in 1970, followed by two albums recorded decades later with his ensemble Still WatersFind albums by this artist (“I.D.Find albums with this title” from 1996 and “Can`t Believe, Won`t BelieveFind albums with this title” from 2018). Therefore, this release fills a gigantic gap in Lowther’s recorded legacy as a leader, and pays tribute to this great musician, along with his fellow musicians of course, all of which are British Jazz icons. With the painful recent passing of Trevor Tomkins, this is even more significant. The music is a classic example of the Modern British Jazz played in the 1970s, emphasizing excellent compositions and brilliant improvisations, which include a pinch of Free Jazz here and there, but mostly sits well within the modern mainstream of the era. Considering the lineup, it is hardly surprising that the music is nothing short of spectacular, in every respect. Lowther, Lee and the saxophonists solo with passion and vigor and the sublime rhythm section keeps things in check, with Green’s incredibly melodic bass lines and Tomkins’ virtuosity present every step of the way. British scene followers should find it interesting to compare Lee’s guitar performances here with his more Prog oriented recordings with GilgameshFind albums by this artist or National HealthFind albums by this artist, which prove his incredible versatility. Lowther’s violin performances here, relatively rarely heard elsewhere, are a proverbial cherry on top of everything. Overall, this is another admirable contribution to the British Jazz recorded legacy made by the dedicated people behind the Jazz In BritainFind albums on this label label who never cease to enrich our lives with these mementos from the glorious past legacy of the British Jazz. Just the thought that these musical treasures would have remained buried forever fills me with great sadness for all the music that suffers that fate, and of course at the same time with great joy that some of it sees the light of day, for which we are, as always, eternally grateful!

Updated: 22/12/2022Posted: 21/09/2022

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TREVOR TOMKINS / SEXTANT ~ FOR FUTURE REFERENCE JAZZ IN BRITAIN 37 (Barcode: 5060774190395) ~ UK ~ Jazz Recorded: 1980 - 1983 Released: 2023 This is an archival live album by British Jazz drummer Trevor TomkinsFind albums by this artist and his sextet called SextantFind albums by this artist, which also included saxophonist Jimmy HastingsFind albums by this artist, trombonist Chris PyneFind albums by this artist, pianist John HorlerFind albums by this artist, guitarist Phil LeeFind albums by this artist and bassist Paul BridgeFind albums by this artist. Saxophonist Brian SmithFind albums by this artist replaces Hastings on one of the recording sessions. The 2CD album, recorded in four different sessions between 1980 and 1983, presents fifteen tracks, six of which were composed by Lee, three by Horler, two are standards, three are by British Jazz composers: Stan SulzmannFind albums by this artist, Kenny WheelerFind albums by this artist and Henry LowtherFind albums by this artist and finally one is by American composer Ralph TownerFind albums by this artist. The album offers splendid sound quality, which is close to studio recording excellence, and includes an extensive essay by Simon SpillettFind albums by this artist. Although Tomkins was almost omnipresent on the British Jazz scene since the early 1960, and appears on dozens of seminal albums recorded over the decades, he never released an album as a leader and only one little know album as co-leader – an amazing fact, which is difficult to believe but true nevertheless. Following his death just a few months ago, the wonderful Jazz In BritainFind albums on this label label rushed to release this, his first album as a leader, to commemorate his invaluable input into making British Jazz what it is. The music is, as expected, absolutely brilliant, all within the modern British Jazz mainstream, featuring mostly original compositions by the sextet members, which are highly melodic and beautifully structured. The members of the sextet, especially Hastings and Lee, had close ties with British Jazz-Rock Fusion and Progressive Rock / Canterbury Scene in the 1970s, being members of CaravanFind albums by this artist / Hatfield And The NorthFind albums by this artist / National HealthFind albums by this artist / Soft MachineFind albums by this artist / GilgameshFind albums by this artist (which also included Tomkins), but the music on this album has no relation to these excursions, being much closer to the work Tomkins experienced with the Don Rendell / Ian Carr QuintetFind albums by this artist or Michael GarrickFind albums by this artist ensembles in the 1960s and early 1970s. Both the teamwork and the individual performances by the sextet members are absolutely phenomenal, showing great comradeship and mutual respect between the musicians. Horler plays some brilliant piano lines and is the quintessential catalyst, always there with his harmonic support behind the soloists. Lee plays amazing guitar soli and proves again that he deserves way more respect for his unique style and consistency. Hastings / Smith offer the Jazzy core with their solid presentations of the themes and inspired soloing. Pyne is a trombone virtuoso and his solos are all absolute gems. Bridge, a superb bassist, who sadly passed away prematurely in 2001, keeps the music swinging steadily, working hand in hand with the leader, who is more reliable than a Swiss clock and never ceases to amaze with his inventiveness. Overall, this is another great addition to the string of releases produced by the Jazz In Britain aficionados, which makes our lives not only more interesting, but also bearable, all things considered. This music is so good it would have been a crime to leave it forgotten, so now when it is available, don’t hesitate even for a split second… This is an absolutely essential piece of British Jazz legacy!

Updated: 12/03/2023Posted: 12/03/2023

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TREVOR WATTS / LIAM GENOCKEY ~ THE ART IS IN THE RHYTHM JAZZ IN BRITAIN 39 (Barcode: 5060774190418) ~ UK ~ Free Jazz / Improvised Music Recorded: 1989 Released: 2022 I have been following the Artistry of British saxophonist / composer / bandleader Trevor WattsFind albums by this artist for almost six decades now, starting with the early days of SMEFind albums by this artist (Spontaneous Music EnsembleFind albums by this artist) and later AmalgamFind albums by this artist, Moire MusicFind albums by this artist, London Jazz Composers` OrchestraFind albums by this artist and his work with other British and international improvisers, which over the years amasses to a vast recorded legacy, surely one of the most impressive achievements of the British Improvised Music scene and beyond. We are so lucky to have him around with us, still contributing new music continuously, although this album is of a retrospective / archival nature, documenting Watts’ duets with Irish drummer Liam GenockeyFind albums by this artist, who earned his fame on the British Folk-Rock scene, but in fact was active on the British Jazz, Jazz-Rock and Improvised Music scene as well, including his work with Watts as early as 1976, when he became a member of Amalgam. This archival album presents three improvised pieces, recorded over three decades ago, two of which last almost half an hour and the remaining one half that time, which of course is nothing exceptional in Improvised Music. The recording offers an excellent sound quality and separation (drums on the far left and saxophones on the far right), which allows the listener to enjoy the phenomenal interplay between the two musicians, who converse, exchange ideas and dance around each other in perfect accord. Improvised Music tends to be mostly a spur of the moment affair, which is a brilliant, but often sadly of very temporary nature. Most improvised concerts do not manage to encapsulate the energy and emotional delivery when transferred to a recording, which a listener would return to repeatedly. This recording manages to break the pattern, and certainly offers enough aesthetic and artistic value, which is worth keeping for posterity and listening to, since it offers a timeless tale of human communication, not only on the musical plane, but also on a perceptional “higher” plane, which is not even possible to be explained verbally and has to be experienced at first hand in order to participate in the event. Of course the Masterly abilities of both these musicians are plainly evident herein, and as the title suggests, it is worth to listen carefully to the rhythmic effect of this music, which of course is present not only in the drum parts. As usual kudos to the people behind the Jazz In BritainFind albums on this label label, which keeps all the British Jazz fans around the globe hooked on its excellent output, which never ceases to deliver exactly what we all wish to hear. Overall, this is another excellent piece of the puzzle, which presents the diverse musical history of the British Jazz, which remains to be a wonderful treasure chest, which sometime seems like a bottomless pit, considering the amount of music it offers time and again.

Updated: 26/09/2022Posted: 26/09/2022

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KARL JENKINS ~ PENUMBRA II JAZZ IN BRITAIN 41 (Barcode: 5060774190432) ~ UK ~ Jazz-Rock Fusion Recorded: 1971 Released: 2022 The great abundance of creativity and recording activity, which blessed the British Jazz scene during the Golden Decade (1965-1975), created, among many other cultural marvels, also the “silent hero” phenomenon, which in case of the great multi-instrumentalist / composer Karl JenkinsFind albums by this artist, is a classic embodiment of that concept. Although firmly present at the epicenter of the music-making turmoil at the time, from Graham CollierFind albums by this artist, via Neil ArdleyFind albums by this artist, NucleusFind albums by this artist, and most prominently Soft MachineFind albums by this artist, Jenkins’ name would hardly be the primary association for most people thinking about the music of that period, despite his enormous contributions – the fate of a “silent hero”. I have faithfully followed his continuous activity over the decades, which shifted primarily into the Classical Music idiom, which included grand pieces like “RequiemFind albums with this title” or intimate beauties like the latest “PianoFind albums with this title”, always with great satisfaction and pleasure. This wonderful archival release brings us a three-part suite, composed by Jenkins and recorded live in 1971 with a dreamy ensemble, which includes the crème de la crème of the British Jazz-Rock musicians at the time: Jenkins on piano with trumpeter Ian CarrFind albums by this artist, saxophonists Brian SmithFind albums by this artist, Ray WarleighFind albums by this artist and Alan SkidmoreFind albums by this artist, guitarist Chris SpeddingFind albums by this artist, pianist Dave MacRaeFind albums by this artist, bassist Roy BabbingtonFind albums by this artist, drummer John MarshallFind albums by this artist and percussionist Frank RicottiFind albums by this artist, arguably the best ensemble ever put together at that time. Although relatively short, running just under half an hour, the music is an absolute classic example of what was being created at the time, and as such somewhat similar, at least spiritually and aurally, to many other recordings of the period. The composition is based on a steady riff, which develops slowly and offers splendid opportunity to all the instrumentalists to create hair-raising solo parts. The sound quality is perfect, which makes the music to be audible in great detail. Overall, this is a superb musical time capsule, brought to us courtesy of the people behind the Jazz In BritainFind albums on this label label, who work tirelessly to unearth the great treasures of the British Jazz, making us, the followers and enthusiasts, ecstatically happy. It is also a much deserved “thank you” note to the contributions bestowed on us by this wonderful musician.

Updated: 30/11/2022Posted: 30/11/2022

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DON RENDELL / IAN CARR QUINTET ~ WARM UP JAZZ IN BRITAIN 44 (Barcode: 5060774190487) ~ UK ~ Jazz Recorded: 1965 Released: 2022 This is an archival 2CD live album by the fabled British Jazz quintet co-led by saxophonist / composer Don RendellFind albums by this artist and trumpeter / composer Ian CarrFind albums by this artist, which also included pianist / composer Michael GarrickFind albums by this artist, bassist Dave GreenFind albums by this artist and recently departed drummer Trevor TomkinsFind albums by this artist, to whom this album is dedicated. Part of the music contained here was previously released on the HarkitFind albums on this label label in 2003, but the entire concert at the Highwayman is now presented in full and sonically restored, accompanied by a 20-pages booklet with photos and an essay by Simon SpillettFind albums by this artist. The album presents twelve tracks, four of which are original compositions by Garrick – the most prolific composer of the quintet, one by Rendell and one by the great Neil ArdleyFind albums by this artist, with the rest being Jazz standards. I have already written extensively about this magnificent quintet, so there is no need to repeat the obvious – they were the quintessential outfit at the time and champions of the process of establishing the new voice of the British Jazz after years of copying and admiring the American Jazz tradition, finally being able, together with several other contemporaries, to emancipate the music and create an autonomous, recognizable, aesthetically independent way of thinking and composing and most importantly improvising. Of course, all five members of the quintet were great performers, which means that the music kicks ass for the entire duration, but it deserves several listening sessions in order to recognize all the crucial moments of genius, where they offer innovation rather than just going through the motions. It is great to have the entire concert available, and to fill one more gap in the complex puzzle this quintet managed to create during its relatively short existence. Overall, this is another triumphant release by the Jazz In Britain label, which is a total labor of love and commitment. I look with great satisfaction at the growing stack of the label’s releases, which is the main source of archival material, producing an ongoing story of British Jazz. This album is a great addition to this growing legacy, and from what the people behind the scenes share with us, this is just a tiny portion of the material that comes their way. We can only hope the creative juices will keep flowing and the CDs coming – hats off to you people. And the album – well, it is a no brainer whatsoever – just grab a copy – satisfaction guaranteed!

Updated: 29/01/2023Posted: 28/01/2023

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TREVOR WATTS` ORIGINAL DRUM ORCHESTRA ~ THE ART IS IN THE RHYTHM VOLUME 2 JAZZ IN BRITAIN 46 (Barcode: 5060774190531) ~ UK ~ Avant-Garde Jazz-World Fusion Recorded: 1989 Released: 2023 This is an archival live recording by the veteran British saxophonist / composer / bandleader Trevor WattsFind albums by this artist and his Original Drum OrchestraFind albums by this artist, which included violinist Peter KnightFind albums by this artist, bassist Ernest MothleFind albums by this artist, African percussionists Nana TsiboeFind albums by this artist and Kofi AduFind albums by this artist and drummer Liam GenockeyFind albums by this artist. The six lengthy improvised tracks were captured at two gigs, which were part of a tour the group played in 1989. The CD is dedicated to the memory of the two percussionist, who are now departed. The music is all improvised, but differs significantly from what is usually conceived as European Free Jazz / Improvised Music due to the presence of the African Music elements, which have a prevailing rhythmic presence. With the saxophone and violin being the only melodic contributors to the music, the percussive elements dominate the proceedings, offering a wide range of pulsations, which keep changing as the pieces develop. It is possibly one of the most vivid examples of African Music within the British Improvised Music idiom, and of course it does continue Watts’ fascination with such musical elements, as present in his ensembles Moire MusicFind albums by this artist and Drum OrchestraFind albums by this artist, which were active during the 1980s and 1990s. Watts’ improvisations are of course as fascinating as always, obviously highly inspired by the powerful rhythmic elements present herein, and he often exposes his lyrical / melodic persona, which is able to weave beautiful gentle tunes as well. The music is very well recorded and offers a truly hypnotic ride, which thanks to the extensive duration of the tunes, often close and even over the half an hour mark, absorbs the listener completely for the duration. The more inquisitive listeners might delight in the interplay between the two percussionists and the drummer, who build a trans-continental Euro-African rhythmic understanding and co-existence. As usual, thanks to the Jazz In BritainFind albums on this label label for releasing this archival material, for the excellent booklet and photographs and as usual for keeping this Cultural Heritage alive. Overall, this is again a great addition to the British Jazz legacy, which keeps growing steadily and closing the gaps that time created, for those of us who are always thirsty to hear music, which should not be forgotten. Keep up this splendid job my Friends! And Trevor – may you keep playing for many years to come!

Updated: 23/07/2023Posted: 23/07/2023

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STAN SULZMANN ~ ON LOAN WITH GRATITUDE JAZZ IN BRITAIN 48 (Barcode: 5060774190500) ~ UK ~ Jazz Recorded: 1974 - 1977 Released: 2023 This is an expanded and long overdue reissue / remaster of the debut album as a leader by British Jazz saxophonist / flautist Stan SulzmannFind albums by this artist, recorded in a quartet setting with keyboardist John TaylorFind albums by this artist, bassist Ron MathewsonFind albums by this artist and drummer Tony LevinFind albums by this artist. Bassist Chris LaurenceFind albums by this artist appears on one track. The album was originally released on the MosaicFind albums on this label label, owned by Graham CollierFind albums by this artist and presented just three tracks, one of which was a three-part suite. Sadly, the studio tapes were lost and the music was transferred from a vinyl copy. This expanded 2CD edition adds no less than eight bonus tracks, recorded before the album recording and taken from tape archives, which include early versions of two of the tracks on the album, including the suite. All the music was composed by Sulzmann. The music, to which I have often returned to over the years, is absolutely sensational, as expected. Sultzmann and his cohorts were among the finest British Jazz players / composers of the period and by the mid-1970s were all at their full capacity, producing brilliant, vibrant and highly original music, probably the best British Jazz ever. The Mosaic label was one of the first independent / musician-owned British Jazz labels and offered an opportunity to release original music by other musicians, in addition to presenting the music by its owner. Sadly, several of the albums released at the time, remain still unreleased on CD to this very day, waiting for the good people of the Jazz In BritainFind albums on this label label to follow the example set by this wonderful reissue. In addition to the brilliant performances (and compositions of course) by the leader, the album also features extensive contributions by the great and sadly departed John Taylor, whose performances herein are absolutely delightful, and for his many followers this album is an essential addition to his splendid legacy. The Mathewson / Levin rhythm section is also a great reminder of their contribution to the British Jazz scene, each in his very own way, and both also sadly not with us anymore, and a tribute to their memory. Overall, this is another “straight between the eyes” class of release, overdue but not forgotten gem, which now can now be discovered by new generations or all those less fortunate British Jazz lovers, who don’t own the original vinyl release. Just keep them coming you archive magicians!

Updated: 10/09/2023Posted: 10/09/2023

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VARIOUS ARTISTS ~ AND DID THOSE FEET… JAZZ IN BRITAIN 52 ~ UK ~ Jazz Recorded: 1971 - 1980 Released: 2023 This archival 2CD album accompanies the book by Duncan HeiningFind albums by this artist of the same title, published by the inexorable Jazz In BritainFind albums on this label label / publishing house, which continues, to the delight of all British Jazz lovers, to bring to light previously unreleased or long forgotten gems from the depths of private archives. The book, subtitled “Six British Jazz Composers”, presents biographies of six pivotal British Jazz figures and the album brings music illustrating their vast achievements. All the music was previously unreleased and all originates from BBC broadcasts. CD1 presents recordings by Michael GarrickFind albums by this artist from 1972, Michael GibbsFind albums by this artist from 1971 and Barry GuyFind albums by this artist from 1971. CD2 presents recordings by John MayerFind albums by this artist from 1972, Keith TippettFind albums by this artist from 1971 and Mike WestbrookFind albums by this artist from 1980. The collective lineup of the musicians performing herein is a magnificent compendium of the who’s who of the British Jazz scene at its most dramatic development period. All the music, except that by Westbrook, originates from the early 1970s, and Westbrook’s activity at that time was also absolutely essential, which means that the editors of this album did not have access to any of his early 1970s material, which would have fitted perfectly. The lineups include an intimate trio, two septets and three large ensembles, and stylistically it moves between delicate lyrical compositions, via orchestral works, Jazz-World Fusion experiments and Free Jazz / Avant-Garde explorations, all this happening at the same time slot, which portrays the British Jazz scene perfectly. I vividly remember the abundance of talent and feverish activity at the time, which meant that selecting an event to go to was often an impossible choice. This album also emphasizes the importance and incredible support by the BBC to the development of music (Jazz but also Rock) at the time. None of this music herein would be available to us today if not for those regular broadcasts and the sublime recording quality of those guys in white coats… Overall, this is a tremendous piece of British Jazz history, absolutely essential to all the fans, and of course a perfect companion to the book, which is also wholeheartedly recommended! British Jazz forever!

Updated: 19/12/2023Posted: 19/12/2023

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TUBBY HAYES ~ NO BLUES: THE COMPLETE HOPBINE `65 JAZZ IN BRITAIN 53 (Barcode: 5060774190555) ~ UK ~ Jazz Recorded: 1965 Released: 2023 This is an archival live album by British Jazz saxophonist / composer Tubby HayesFind albums by this artist recorded in a quartet setting with pianist Kenny PowellFind albums by this artist, bassist Ron MathewsonFind albums by this artist and drummer Dick BrennanFind albums by this artist. Saxophonist Tommy WhittleFind albums by this artist expands the lineup to a quintet on a couple of tracks. Two of the tracks are piano trio recordings. The music, which was recorded at the Hopbine club owned by Whittle, was taken from the Mathewson’s tape archive, which was left to the Jazz In BritainFind albums on this label label upon his death in 2020. The 2CD album presents seven tracks, all of which are standards. The album includes an extensive twenty-four pages long booklet, written by Hayes’ biographer Simon SpillettFind albums by this artist. The tape is a mono recording, but the sound quality is excellent and way better than the other version of this material, which was previously released by HarkitFind albums on this label Records in 2005, and the music can be heard loud and clear. One of the tracks, which lasts for almost twenty minutes, is released here for the first time and this is the first time this performance can he heard in its entirety. This album captures Hayes at the peak of the first part of his career, which was dedicated to becoming an “equal” to his American counterparts, as far as virtuosic improvisation and mastery of the Bebop idiom were concerned. He certainly achieved those goals and received full approval from the Americans, during his US stints during that period. But the drive to enter a more ambitious sphere, partly influenced by American Avant-Gardists like John ColtraneFind albums by this artist, and partly by the British / European Jazz revolution bubbling in the undercurrents, were about to take Hayes into a completely new era, which lasted for the sadly short last period of his life. The album is also a wonderful document of the London Jazz scene in the mid-1960s, which exploded with activity. The first post WWII wave of Jazz musicians were at their peak and the young and hungry generation barking at their behinds, who were about to take over the scene by the end of the decade and revolutionize it, creating for the first time what would become the true British Jazz, unique, innovative and utterly brilliant. Overall, this is a most welcome addition to Tubby Hayes recorded legacy and British Jazz fans surely will appreciate the work and dedication of the people behind the Jazz In Britain label, who keep bringing us these wonderful releases and keep the history of British Jazz alive. Absolutely essential part of any serious British Jazz collection.

Updated: 02/07/2023Posted: 02/07/2023

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BARBARA THOMPSON ~ FIRST LIGHT JAZZ IN BRITAIN 54 (Barcode: 5060774190524) ~ UK ~ Jazz Recorded: 1971 - 1972 Released: 2023 This is an album collecting three archival live recordings / radio broadcasts by the late British Jazz saxophonist / composer / bandleader Barbara ThompsonFind albums by this artist, which present her in various settings with the crème de la crème of the British Jazz musicians active in the early 1970s. As a result, it is a companion album to the tremendous 14CD Box Set “Live At The BBCFind albums with this title” by Barbara Thompson, released in 2020 by RepertoireFind albums on this label Records, offering material uncovered after the Box Set was released. This album, released by the Jazz In BritainFind albums on this label label, is a completely non-commercial release, with all profits from the album going to the Cure Parkinson’s Trust, a moving gesture by all the people involved, including Barbara’s and Jon HisemanFind albums by this artist’s daughter Ana GraceyFind albums by this artist and Jazz In Britain founder John ThurlowFind albums by this artist. We all still mourn Barbara’s and Jon’s untimely departures of course. The first two tracks present the Group EFind albums by this artist, which comprised of (in addition to Barbara) vocalist Pepi LemerFind albums by this artist, pianist Peter LemerFind albums by this artist, bassist Johnny DyaniFind albums by this artist and drummer Laurie AllanFind albums by this artist. The music is Avant-Garde Jazz, with superb vocal parts by Lemer, who sadly is often forgotten, but was one of the most interesting Jazz vocalist of the period. The next three tracks present a suite for a Big Band, called “The Awakening”, co-composed by Barbara and Jon. The band features a dreamy lineup of eleven instrumentalists and a vocalist – no other than my beloved Norma WinstoneFind albums by this artist – which reads like a Who’s Who of the modern British Jazz and is conducted by Neil ArdleyFind albums by this artist. The players are: trumpeters Ian HamerFind albums by this artist, Kenny WheelerFind albums by this artist and Henry LowtherFind albums by this artist, trombonist Derek WadsworthFind albums by this artist, saxophonists Don RendellFind albums by this artist and Barbara Thompson, cellist Charles TunnellFind albums by this artist, pianist Howard RileyFind albums by this artist, vibraphonist Bill Le SageFind albums by this artist, bassist Jeff ClyneFind albums by this artist and drummer Jon Hiseman. The music is absolutely brilliant and very typical of the Big Band recordings recorded at the time by Neil Ardley, Mike WestbrookFind albums by this artist and others. The vocal parts by Winstone are, not surprisingly, my favorite jewels, but the entire suite is simply divine and the fact it was discovered and now released is no less than sensational. The last five tracks are by Barbara’s group JubiabaFind albums by this artist, which comprised of (in addition to Barbara) trumpeters George ChisholmFind albums by this artist and Ian CarrFind albums by this artist, Wadsworth, Le Sage, Peter Lemer, bassist Roy BabbingtonFind albums by this artist, drummer Martin DrewFind albums by this artist and percussionist Trevor TomkinsFind albums by this artist. It presents the early version of the band, which was essentially dedicated to combining Jazz with World Music influences, mostly Latin. As far as I am aware, this is the earliest recordings by Jubiaba captured on tape. Overall, this is an absolute jewel from start to finish and an absolute must to all British Jazz enthusiasts, and in retrospect one of the most surprising and important releases by the Jazz In Britain label so far. The Big Band piece alone is a beacon symbolizing the birth of the modern British Jazz, with everything it stands for: ingenuity, originality, groundbreaking musical thinking and enormous talent. Hats off to everybody involved!

Updated: 26/07/2023Posted: 26/07/2023

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FINGERS ~ THE COMPLETE FINGERS REMEMBER MINGUS JAZZ IN BRITAIN 55 (Barcode: 5060774190692) ~ UK ~ Jazz Recorded: 1979 - 1993 Released: 2024 This is an expanded reissue / remaster of an album by British Jazz quintet FingersFind albums by this artist, led by bassist Dave GreenFind albums by this artist, which also included saxophonists Lol CoxhillFind albums by this artist and Bruce TurnerFind albums by this artist, pianist Michael GarrickFind albums by this artist and drummer Alan JacksonFind albums by this artist. The original album was recorded in 1979 and released on the legendary SpotliteFind albums on this label label in 1983, which needless to say has been in my collection since then. It included only five tracks, some of which were edited to fit on the LP, which are here expanded to include the complete recording session on CD1 and CD2, total eleven tracks including alternate tracks. CD3 presents eight unreleased tracks, originating from BBC broadcasts or other sources, recorded between 1979 and 1993 (see details on the album’s artwork). Although the music herein, either that by Charles MingusFind albums by this artist or by other composers, is basically mainstream oriented, the unique “Fingers’ treatment” it receives here turns is into an orgy of improvisation, which more often than not ventures into the Free territory, especially when Coxhill is in the lead. The atmosphere of the session is somewhat similar to what one might hear on Mingus’ albums, so the resulting music is a tribute with a British twist, which fans of Mingus and those familiar with his music should enjoy immensely. These are some of the finest British Jazz players after all, so it’s hardly surprising that the performances are stellar. Under the steady bass grip by Green, the music manages to swing even when the melody wanders far away, only to return like a wave. Some spectacular soli, which are lost on the original abridged edition, are here to bring a wide smile upon the listener’s lips. The relaxed, almost informal atmosphere of the session, serves the music well, as the result proves. Overall, this is another brilliant release by the Jazz In BritainFind albums on this label label, which does not rest on its laurels, keeping us on edge awaiting the next showdown. Thy good people behind the labels have of course access to more great music that they can possibly handle, so it all comes down making the right choices, which so far has been impeccably done. Thanks, as always, for the music, which never fails to bring a tear in the corner of an eye.

Updated: 01/07/2024Posted: 01/07/2024

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BOBBY WELLINS SEXTET ~ HOMAGE TO CALEDONIA JAZZ IN BRITAIN 67 (Barcode: 5060774190739) ~ UK ~ Jazz Recorded: 1979 Released: 2024 This is an archival live album by British Jazz saxophonist / composer / bandleader Bobby WellinsFind albums by this artist, recorded with his sextet, which also includes pianist Pete JacobsenFind albums by this artist, bassist Adrian KendonFind albums by this artist, drummer Spike WellsFind albums by this artist, saxophonist Lol CoxhillFind albums by this artist and percussionist Bryan SpringFind albums by this artist. The album presents nine tracks, the first four recorded by a quartet and the rest by a sextet. Four tracks are parts of the “Culloden Moor Suite”. All the music was composed by Wellins, except the solo piano track composed by Jacobsen and one track, which is a medley of two standards. This album is a companion release to the “What Was HappeningFind albums with this title” album, recorded by the same quartet, which was also released by the Jazz In BritainFind albums on this label label. The “Culloden Moor SuiteFind albums with this title”, originally composed in 1961, was finally recorded in its full splendor with the Scottish National Jazz OrchestraFind albums by this artist, directed by Tommy SmithFind albums by this artist, only in 2013, which was the last recording before Wellins’ death in 2016. The sextet version appearing here is the only full version recorded in a “small ensemble” version. Wellins, primarily recognized for his work with Stan TraceyFind albums by this artist, was a superb saxophonist and composer and his work as a leader was always a source of joy. His recording legacy as a leader is relatively limited and covers mostly his later period, therefore this album recorded in 1979 is a valuable addition. Also worth mentioning is the fact that the sextet includes Lol Coxhill, associated primarily with the “wilder” side of the British Jazz scene, not to say Avant-Garde, who fits the bill perfectly, despite the basically mainstream orientation of Wellins’ music. The lengthy piano solo track is an absolute gem and a great surprise! Overall, this is another splendid addition to the Jazz In Britain catalogue, which brings to life a piece of the history of the genre, which surely deserves to be remembered and heard. As usual kudos to the people behind the label for carrying on the great work, for we are humbly grateful.

Updated: 12/11/2024Posted: 12/11/2024

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RAY RUSSELL QUARTET ~ THE COMPLETE SPONTANEOUS EVENT JAZZ IN BRITAIN 74 (Barcode: 5060774190814) ~ UK ~ Jazz Recorded: 1967 - 1969 Released: 2024 This is a live archival album by British Jazz guitarist / composer / bandleader Ray RussellFind albums by this artist. It collects five live BBC radio broadcasts recorded by Russell and his quartet between 1967 and 1969, with pianists Roy FryFind albums by this artist or Peter LemerFind albums by this artist, bassists Dave HollandFind albums by this artist or Ron MathewsonFind albums by this artist and drummer Alan RushtonFind albums by this artist. The 2CD album presents twenty tracks, seventeen of which are original compositions by Russell, one is by John ColtraneFind albums by this artist, one by Charles LloydFind albums by this artist and one is a standard. The sound quality of the recordings is brilliant, and hard to believe these recordings were done almost sixty years ago. A few of these tracks were released on an LP in 2000, the early days of the fabulous Jazz In BritainFind albums on this label label, and now the complete material is available, for which all British Jazz fans are eternally grateful. Russell is undoubtedly one of the great silent heroes of the British Jazz scene, rarely in the limelight but continuously active behind the scenes, an author of countless compositions and extensive work as composer of soundtracks for films and TV, a sought after session player with myriad of albums he plays on, but sadly with rather limited recorded legacy as a leader. Most of his albums as a leader originate from the late 1960s and early 1970s, including those by the brilliant Brass Rock ensemble Rock WorkshopFind albums by this artist, which he led. Therefore, this excellent album is even more important to portray his contributions. The music on this album is stylistically quite “well behaved”, as far as the melodic compositions are concerned, strongly rooted in the Jazz tradition, before Russell moved into the more Fusion oriented pathway. His guitar work is absolutely brilliant, displaying his total control of the instrument and stunning technique, continuity and flow. These were pivotal times for the new modern British Jazz scene, where the essence of the new British feel, elegance, sophistication and unique esthetics were forged, which this album portrays splendidly. In retrospect there were very few guitar players in UK at the time, of such class and proficiency. Overall, this is another “bull’s eye” release by Jazz In Britain, which just keeps the juices of the British Jazz history fans flowing, by unearthing such marvelous treasures from the past. Meticulously researched, offering best possible sound quality and most importantly digging deep into the archives, spearing no efforts to bring us the music, this is a true labor of love. Personally this is one of the strongest releases on the label, although everything they release is worth having. Thank you!

Updated: 24/01/2025Posted: 24/01/2025

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TREVOR WATTS ~ THE LANTERN TREE JAZZ IS BRITAIN 73 (Barcode: 5060774190791) ~ UK ~ Jazz-World Fusion Recorded: 2000 Released: 2024 This is an archival live album by British Jazz saxophonist / composer / bandleader Trevor WattsFind albums by this artist, recorded with an ensemble that included saxophonist Marcus CumminsFind albums by this artist, pianist Gabriel KeeneFind albums by this artist, guitarist Geoff SapsfordFind albums by this artist, bass guitarist Colin McKenzieFind albums by this artist, drummer Greg LeppardFind albums by this artist and percussionist Ali IaazaneFind albums by this artist. Two additional saxophonists Amy LeakeFind albums by this artist and Rob LeakeFind albums by this artist also take part in the recording. The album presents eleven tracks, all original compositions by Watts. The music is strongly oriented towards various World Music elements, and offers often a trance-like development, with a collective improvisation by the musicians, based on the basic themes composed by Watts. In many respects this music continues Watts’ fascination with World Music, which is omnipresent on many of his recordings since his early days on the scene, especially his interest in various rhythmic patterns, which is well documented on his recordings with his Moire MusicFind albums by this artist or Drum OrchestraFind albums by this artist ensembles. Wats has been present on the British Jazz scene since the mid-1960s, originally with the legendary Spontaneous Music EnsembleFind albums by this artist, which marks the origins of British Improvised Music, and still active at the age of eighty-five, is a remarkable life achievement, which deserves love and admiration. Therefore, every recording that documents his creativeness over the years is most welcome. Overall, this is another piece of British Jazz history, revealed by the Jazz In BritainFind albums on this label label, which builds up a remarkable volume of music documentation, which would have otherwise probably disappeared into oblivion. It is, as always, most welcome!

Updated: 01/02/2025Posted: 01/02/2025

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ETERNAL TRIANGLE ~ GRAVITY JAZZ NOW 01 (Barcode: 5060774190678) ~ UK ~ Jazz Recorded: 2023 Released: 2024 This is the debut album by British Jazz trio Eternal TriangleFind albums by this artist, which consists of saxophonist Trevor WattsFind albums by this artist, keyboardist Veryan WestonFind albums by this artist and percussionist Jamie HarrisFind albums by this artist. The album presents ten tracks, all composed by Watts. The album is also the debut release on the new British label, called Jazz NowFind albums on this label, which is run by the same wonderful people, who run the Jazz In BritainFind albums on this label label, which produced an impressive series of brilliant albums, which document the development of British Jazz in past decades. Obviously the new label is meant to document contemporary British Jazz. As we all know, Watts and Veryan played together as a duo since decades, but a meeting during Watts’ 80th Birthday celebration got them together with Harris, and this trio was born. Apparently they decided it was a lot of fun to play together, and as a result this album was born. The music is quite surprising, as it is way more melody oriented than the Improvised Music usually associated with the two veterans. Watts always knew to weave some great tunes, but this album offers quite a collection of his more melodic, sometimes outright romantic outings, which are always a great pleasure to listen to. Of course Watts is still an absolutely amazing player and his saxophone improvisations sound as good as they did half a Century earlier, with his stamina and vitality completely intact. Veryan proves to be an amicable partner on his new electric keyboard and Harris adds the rhythmic layers all along the way and the music flows mostly quite happily, although there are a few more reflective moments as well. Overall, this is a great pleasure to hear these great musicians in a relaxed, comfortable atmosphere, which allows them to spread their musical ideas at will, leaving us to enjoy the labor of their collective talents. They promise this is only a beginning, and we all hope this is the truth and nothing but the truth, as much for the music as the new label. Congrats are due all around!

Updated: 24/06/2024Posted: 23/06/2024

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KEVIN FIGES ~ YOU ARE HERE JAZZ NOW 02 (Barcode: 5060774190654) ~ UK ~ Jazz Recorded: 2023 Released: 2024 This is an album by British Jazz saxophonist Kevin FigesFind albums by this artist, recorded in a sextet setting with pianist Jim BlomfieldFind albums by this artist, trombonist Raphael ClarksonFind albums by this artist, trumpeter Pete JudgeFind albums by this artist, drummer Tony OrrellFind albums by this artist and bassist Riaan VoslooFind albums by this artist. The album presents fourteen tracks, five of which were composed by Keith TippettFind albums by this artist, five were composed by other British Jazz musicians connected to Tippett throughout his career, and the remaining four short pieces were composed by the members of the sextet. The album (and the sextet) is a tribute to the music of the legendary British pianist / composer / bandleader Keith Tippett, one of the most important figures of the modern British Jazz. Figes and a few other members of the sextet played with Tippet before his untimely demise in 2020, and the leader directed a series of concerts commemorating Tippett’s music, leading to the creation of this album. The music is a wonderful tribute to Tippett’s giant contribution to the development of British Jazz since the late 1960s, in which he instigated some of the most revolutionary ideas, ranging from solo piano to Big Band / Orchestral projects, which are still perfectly valid today and remain beacons of ingenuity and genius, sadly not present on the contemporary scene. The music is splendidly performed and recorded and offers a fond memory of Tippett and other heroes of the British Jazz scene, like Elton DeanFind albums by this artist, Harry MillerFind albums by this artist, Hugh HopperFind albums by this artist, Dudu PukwanaFind albums by this artist and King CrimsonFind albums by this artist members, all of which made a tremendous contribution at their time. The material selected for this album is a superb review / retrospect glance at the finest moments of the scene. This album is the second release on the new Jazz NowFind albums on this label label, created by the same people who run the splendid Jazz In BritainFind albums on this label label, which produced an impressive series of brilliant albums, which document the development of British Jazz in past decades. Obviously the new label is meant to document contemporary British Jazz. Overall, this is a wonderful tribute album, which offers refreshed versions of compositions by Keith Tippett and other Godfathers of modern British Jazz, splendidly arranged and performed by Figes and the sextet, a great addition to any British Jazz record collection.

Updated: 10/07/2024Posted: 10/07/2024

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DON RENDELL / IAN CARR QUINTET ~ BBC JAZZ CLUB 1965/66 II RHYTHM AND BLUES 075 (Barcode: 5060331752585) ~ UK ~ Jazz Recorded: 1965 - 1966 Released: 2021 This is the second archival album by the seminal British Jazz quintet co-led by saxophonist / flautist Don RendellFind albums by this artist and trumpeter Ian CarrFind albums by this artist, which also included pianist Michael GarrickFind albums by this artist, bassist Dave GreenFind albums by this artist and drummer Trevor TomkinsFind albums by this artist. The album presents three BBC sessions, two from 1965 and one from 1966, all together seventeen tracks. On the second session vibraphonist Mike CarrFind albums by this artist guests on two tracks. The first session is Garrick’s debut appearance as a member of the quintet. These sessions were recorded between the time the quintet recorded their first album “Shades Of BlueFind albums with this title” (recorded in October 1964) and their second album “Dusk FireFind albums with this title” (recorded in March 1966), and it is not surprising that the second and third sessions presents some early live versions of the material eventually recorded for the second album. Most of the material consists of original compositions by Rendell, Carr and no less than seven compositions and one co-composition with Carr) by Garrick, who became the most prolific contributor to the quintet’s material. These sessions show vividly the giant step the quintet made between recording the debut album with Colin PurbrookFind albums by this artist on piano, which was almost completely conventional and Bee Bop oriented, and the second album with Garrick on piano, recorded just a year and a half later, where the quintet turns into the amazing modern Jazz ensemble passing the equinox which marks the birth of modern British Jazz. Considering the splendid sound quality of these recordings, the fact that it is the first time they appear on record and that they also include previously never heard material by the quintet, this album is worth its weight in gold, not only to British / European Jazz enthusiasts but all modern Jazz lovers around the world. In view of the relatively limited recorded legacy by this legendary quintet, this stuff is absolutely essential! Side Note for Michael Garrick’s fans: Of the seven Garrick’s composition on this album, only one (“Prayer”) appeared on the “Dusk Fire” album. The other six compositions can be found on the following albums: “October WomanFind albums with this title” is the title track from his album recorded in November 1964 with his own quintet before he joined the Rendell / Carr quintet. “Ursula” is a track from his album “Black MarigoldsFind albums with this title”, which will be recorded in January / February 1966. “Trane’s Mood” originates from the iconic “Poetry And Jazz In Concert 250Find albums with this title” album and can also be found on the “Live At The Union 1966Find albums with this title” album. “The Sixth Seal” only appeared recently on the Jazz In BritainFind albums on this label label’s LP “At Short NoticeFind albums with this title”, which is in desperate need of a CD release. “She’ll Be Back” and “Secrets” seem to make the only appearance on this album, unless the names of the tunes are mistaken.

Updated: 04/08/2021Posted: 04/08/2021

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