Late Night Jam Session
Wed 21st June at 11:00pm
Late Night Jam Session
Until 2am in the Basura Blanca Basement
Until 2am in the Basura Blanca Basement
Until 2am in the Basura Blanca Basement
Until 2am in the Basura Blanca Basement
Until 2am in the Basura Blanca Basement
Until 2am in the Basura Blanca Basement
Doors 7:00pm – Show Starts at 7:30pm
Celebrating 100 Years of Ella Fitzgerald
When you think of legendary singer Ella Fitzgerald, you think of the some of the greatest music ever performed. 2017 marks a very special year as one of the most loved entertainer of all time Ella Fitzgerald will be celebrated around the world with a series of commemorative centennial events. As part of these celebrations multi-award winning guitarist Martin Taylor and Scottish-Canadian jazz singer Alison Burns will be touring the UK for a series of concerts highlighting the Grammy-award winning collaboration between Ella and jazz guitarist Joe Pass. Taylor and Burns who have performed for Prince William and whose fans include Sir Michael Parkinson and Downtown Abbey creator Julian Fellowes, will present a concert inspired by the intimate 1960’s duo recordings of Joe Pass and Ella Fitzgerald.
Doors 7:30 pm – Show starts at 8:00pm
Support from RAZA.
Formed of keyboardist Dan Nicholls (who has worked with Matthew Herbert), drummer Joshua Blackmore (Troyka) and guitarist Chris Sharkey (trioVD), this band has created, via their debut release Brokespeak, a sound that eschews genre and feels free from time-stamps. They are an intensely high-octane group that fire off frantic tempos and intricate complexities, yet they also retain an accessibility through fluid grooves and an engaging sense of melodic intuition. Conjuring big beats and a vast array of sonic possibilities, Strobes flickers effortlessly between the worlds of electro-improv, minimalist polyrhythm, Afrocentric grooves and distinctively original hooks. Built from collective composition, studio production, live sampling and improv jams, the music ranges from fiery, exhilarating odd-tempo loops, to polyphonic synth soundscapes and ‘beats that make loose clothing shimmer and earrings rattle’ (TheArtsDesk)
Doors 8:00pm – Show starts at 8:30pm
Led by co-founder and former Empirical trumpeter Jay Phelps. Phelps’ music is a journey through an array of many styles and temperaments, with a strong sense of what is contemporary in Jazz today. Jay Phelps has spent the last 2 years travelling the world, writing, and has been on a spiritual journey that incorporates these influences along with the new addition of his vocals, into the music. ‘Free as the Birds’-Phelps’ new album (due for release, June 2017) uses this theme of travel as a main reference point.
Jay Phelps: Trumpet
Rick Simpson: Piano
Mark Lewandowski: Bass
John Scott: Drums
Doors 7:30pm – Show starts at 8:00pm
The Classic Jazz Orchestra’s mission is to explore the fabulously varied back-catalogue of jazz in an informative and entertaining way. It does this by re-interpreting, not replicating, jazz styles covering the whole history of jazz from ragtime to contemporary. Within its ranks are some of Scotland’s finest and most versatile jazz talents and the combination of expert musicianship and the leader’s imaginative orchestrations resulted in their winning the Best Band category in the 2009 Scottish Jazz Awards. It’s music to gladden the heart and animate the feet from an era when jazz was synonymous with joy. Come along and make your feet happy!
‘Mezcla’ is a brand new instrumental collective led by acclaimed bass player/composer David Bowden (BBC Young Scottish Jazz Musician of the Year 2017). Comprising some of Scotland’s most exciting jazz musicians, the band plays Bowden’s original compositions drawing from a rich tapestry of influences spanning jazz, soul and folk music from Scotland, Latin America and West Africa. Expect to hear soulful melodies combined with energetic grooves and electrifying improvisation.
‘Highly accomplished music making’ – BBC Radio Scotland
Joshua Elcock – Trumpet
Michael Butcher – Sax
Ben MacDonald – Guitar
Alan Benzie – Keys
David Bowden – Bass
Stephen Henderson – Drums
Until 2am in the Basura Blanca Basement
Classically trained jazz, soul, world music singer and composer Sue McCreeth’s 2017 live dates see her performing from London to Glasgow. Hers is an international jazz sensibility, and she blends the material with an expert eye, having studied with Gary Burton (Berklee College of Music USA) and Joy Mammen (Royal Academy of Music). Songs from her current and penultimate critically acclaimed cds, ‘Look Back and Love’ (2017), and ‘Queer Bird’(2016) will be featured. McCreeth blends her own well regarded compositions, jazz classics by British composers, re-imagined classical art song in German and French, together with Gaelic and Portuguese. Harmonies, grooves, song titles and words have echoes of Arabic, Sikh and Tamil traditions. This promises to be a high energy, engaging and unique concert featuring musicians from the cream of the Scottish jazz set
Doors 7:00pm – Show starts at 7:30pm
As a young boy, London-born Neil Cowley studied classical music and by the age of 10 had performed a Shostakovich piano concerto to a full house at London’s Queen Elizabeth Hall. However, by his mid-teens, he had joined a friend in a Blues Brothers tribute band, “as a way” he says “of getting into pubs” and by 17 had turned his back on formal training altogether and entered the world of pop.
Cowley’s skills have been learned on the job. He went on to record and tour with some of the best soul and funk bands of the day including the Brand New Heavies and Zero 7 alongside his own highly successful chill-out production duo Fragile State.
By the mid noughties, Cowley began to find the experience of extracting music from a computer chip unbearable, so, with his dear friend the piano, began composing and eventually realised a long-standing vision to form the Neil Cowley Trio. In 2006 he created his own label and released his debut album Displaced, an outstanding album of original recordings that established him as a dazzling pianist and stunning composer. Cowley created a unique trademark sound that delivered powerful music of massive dynamic range and contrasts – where ferociously forceful, hook laden melodies sit side by side with reflective, tender pieces capable of heart shattering tenderness. The album was released to huge critical acclaim, and earned him the 2007 BBC Jazz Award for Best Album.
In 2008, the trio released their follow-up album, Loud Louder Stop (Cake). Fizzing with the energy of rock and the surging dynamics of dance music, Cowley solidified his sound, yet stretched the envelope further. The recording placed the trio at the forefront of the British ‘Post-Jazz’ movement – Mojo hailed the recording as a “Modern Classic”, and listed it in their ’50 Best Albums’ of that year. Radio Silence (Naim), Cowley’s third album released in 2010 solidified his reputation as a fine composer, and represented the magical empathy of his unit, who had learnt to breathe and listen as one. Throughout the following year, Cowley nourished his fondness for grand, commanding sounds and began a love affair with orchestration. The Face of Mount Molehill was released in early 2012 and showcased his burgeoning talent as a composer and arranger for trio and strings, marking a significant change in direction. The following year, the trio collected the 2013 gong for Best UK Jazz Act at the inaugural Jazz Fm Awards. Cowley describes their fifth studio release, Touch and Flee as their ‘concert hall album’; released in 2014 it cemented Cowley’s credentials as a brilliant, dazzling composer. Neil Cowley Trio release their sixth studio album, Spacebound Apes in 2016
The trio – with Australian Rex Horan on bass and New Zealander Evan Jenkins on drums – are renowned for captivating live performances which have at their heart Cowley’s marvellously English wit and remarkable rapport with his audience . They tour internationally and have appeared at the world’s most prestigious jazz festivals.
A TV appearance on Later with Jools, inclusion on two Mojo cover- mounted CDs (celebratory re-workings of tracks by the Beatles and The Beach Boys) ads for Guinness and Nokia, trips to far flung corners of the word for the British Council, a year spent as Musician in Residence in Derry-Londonderry for PRS for Music Foundation and his TV debut as a presenter for the forthcoming jazz magazine programme, Jazz at Metropolis have kept Cowley busy. In April 2015 he celebrated the music of his idol – comedian, pianist and film star, Dudley Moore with a string of shows at Ronnie Scott’s and a companion radio show which he wrote and presented for Jazz FM, ‘Neil n Dud the Other Side of Dudley Moore, nominated for an Arqiva Commercial Radio Award.
In the meantime, Cowley has become the go-to piano man for soul and pop acts that require a jazz technique and rhythmic suppleness to their artful pop hits. He has leant his golden piano touch to artists such as Emile Sandé, Birdy and Michael Kiwanuka. He has contributed to global chart-topping albums by multi Grammy-winner Adele, including, amongst others, the poignantly expressive intro to Hometown Glory and the stomping piano on Rolling in the Deep. In fact, with Adele’s album 21 being 2011’s biggest-ever selling album in a single year, and of the decade, he is quite literally – the most listened to pianist on the planet.
Neil Cowley – Piano
Rex Horan – Bass
Evan Jenkins – Drums
Doors 7:30 – Show starts at 8:00pm
Laura began playing alto saxophone at the age of sixteen at school in Prestwick, Ayrshire. Her progress was swift. Within months she was playing lead alto in the Strathclyde Youth Jazz Orchestra and gaining her first international experience, performing with SYJO at Montreux Jazz Festival in Switzerland.
In 1995, having attracted the attention of Dean of Students, Larry Bethune, on a visit to Glasgow, Laura was given a full scholarship to Berklee School of Music in Boston. She studied with Bill Pierce, formerly a saxophonist with Art Blakey’s Jazz Messengers and a distinguished teacher, musician and bandleader, and graduated in 1997 having won the school’s annual Excellence in Performance award.
Laura was nominated for the Outstanding Performer prize at Glasgow International Jazz Festival in 1996 and became the first winner of the Scottish Young Jazz Musician of the Year award in 1997.
In 1998, Laura became lead alto player in the Scottish National Jazz Orchestra, playing the music of Duke Ellington, Count Basie, Charles Mingus, Miles Davis and Gil Evans and contributing her composition Royal Mile to the orchestra’s The Edinburgh Suite. She also occupied the lead alto chair in an all-star Ellington Big Band alongside former Ellington musicians Buster Cooper and Barry Lee Hall in Switzerland in 2000.
She released her first album, Laura, on Spartacus Records in 2000. Recorded in New York with a heavyweight American trio comprising David Budway (piano), James Genus (bass) and Jeff ‘Tain’ Watts (drums), it featured Laura’s own compositions alongside well-known pieces by Charles Mingus and Pat Metheny and received very favourable reviews. Her second album ‘Awakenings’ featured Laura’s International Sextet playing music she composed for the group’s highly successful initial tour in summer 2003.
2005 saw Laura win a ‘Take Five’ initiative award funded by the Jerwood Foundation. Her next project saw her performing a new specially commissioned Octet piece at the London Jazz Festival in November.
2007 saw Laura complete a tour of Sweden and new C.D recording. October was the premier of a new large scale commission for the Martyn Bennett Trust. February 2008 saw the release of Laura Macdonald and Martina Almgrens new album ‘Open Book’ and 2008 continued to be an important year with tours to Sweden, Germany and a unique performance as one of Ken Peplowski’s All Stars on the ‘Jazz Cruise 08’ in the Caribbean performing with Wycliffe Gordon and Claudio Roditti.
In 2009 Laura was commissioned to write a new sextet suite that was premiered at Islay Jazz Festival. 2010 saw Laura collaborating with composer Tom Bancroft on a large scale piece called ‘Band of Eden’.
In 2012 Laura was commissioned by the European Jazz Network to celebrate their 25 year anniversary and 2014 saw Laura commissioned as part of the 20 for 14 Commonweatlth Games and commissioned at London Jazz Festival to write a Duet piece to coincide with the release of her fourth C.D ‘Duets’ with David Berkman.
Laura continues to strive forward as one of the U.K’s most prominent women in Jazz.
Doors 7:00pm – Show starts at 7:30pm
Glasgow Jazz Festival & Academy Events present: In conversation with Steve White
Drum legend Steve White has played drums with The Style Council, Paul Weller, The Who, Oasis and many more of the world’s greatest and most respected artists for over thirty years. Steve is doing a series of In Conversation events where he will talk about his experience of working with the artists that he has and about those great songs and about the music industry and how it has changed. At the events, Steve will also have a drum kit to hand where he will provide demonstrations of the drum parts from certain songs. Also on the night Steve will open himself to a Q&A style session where the crowd can ask those burning questions.
Doors 9:00pm – Show starts at 9:45pm
Glasgow International Jazz Festival in conjunction with Athens Of The North Records and Divine present: The Greg Foat Group feat. Warren Hampshire (The Bees)
New Album Launch Party – Scottish live debut
“Greg Foat takes jazz to places where genres cease to matter and the music soars for the sake of it.” Ian Rankin
We are very proud to present internationally-acclaimed UK jazz keyboardist Greg Foat, who makes his Scottish live debut celebrating the launch of his 5th studio album “Galaxies Like Grains Of Sand” (by Hampshire & Foat) released on Edinburgh’s Athens Of The North label. On this latest epic, he has collaborated with fellow Isle Of Wight resident Warren Hampshire, best known as multi-instrumentalist with Mercury Award nominated The Bees. Previous albums on Jazzman Records have received widespread praise from the likes of Gilles Peterson, Jamie Cullum, BBC Scotland’s Jazz House and Chris Evans, and all are now highly sought after on the vinyl collectors’ scene.
The Greg Foat Group fuse unique influences as diverse as keyboard-led 1960s UK jazz (by legends such as Michael Garrick and Gordon Beck), through 1970s soundtracks (from minimal masterpieces like Roy Budd’s iconic “Get Carter” to string-laden epics, such as John Barry’s “Midnight Cowboy”), via obscure library or “mood music” (echoes of Basil Kirchin, Piero Umiliani and Alan “Mohawk” Hawkshaw come to mind). Foat’s virtuoso Hammond, vibes, Moog, electric piano, harpsichord and, even, church organ take centre stage, perfectly complemented by some of the scene’s great talents.
For this Scottish debut The Greg Foat Group boasts a stellar line-up consisting of Greg Foat (Fender Rhodes) and Warren Hampshire (guitar), joined by iconic figures Clark Tracey (drums), Phil Achille (bass) and Konrad Wiszniewski (tenor saxophone). The live music will be augmented by DJs Euan Fryer (Athens Of The North) and Andrew Divine (The Funk Room / Jazzman), two of Scotland’s most respected collectors, who’ll be spinning a deep and spiritual selection of vinyl dug deep from their archives, aimed squarely at the dancefloor.
THE GREG FOAT GROUP
“Dark Is The Sun” (2011)
“Girl And Robot With Flowers” (2012)
“Live At The Playboy Club, London” (2014)
“The Dancers At The Edge Of Time” (2015)
HAMPSHIRE & FOAT
“Galaxies Like Grains Of Sand” (2017)
“This is life Ladies and Gentlemen, welcome to it” – Chris Evans – BBC Radio 2
“A great new release from Jazzman Records, one of my top albums of 2011” – Gilles Peterson – BBC Radio 1
“Perfectly out of step with polished Modern Jazz” – Jamie Cullum – BBC Radio 2
“I’m loving this record right now” – Craig Charles – BBC 6Music
“The Greg Foat Group are soul jazz for the 21st century” – Jazz Meet
In association with The Hug & Pint.
Pianist Paul Harrison formed Sugarwork with the aim of bringing back spontaneity and true adventure in jazz. In this group his compositions draw on an expansive range of influences, including avant-rock, electronica and folk music, augmenting the band’s main instruments with electronics – at times hauntingly melodic, at others, thrillingly relentless and intensely rhythmic. Also defining the group are three tremendously strong personalities, each a well known bandleader in their own right as well as fearless improvisers : tenor saxophonist Phil Bancroft, who is incapable of playing a superfluous note, Graeme Stephen, whose innovative and inimitable electric guitar style is a perfect match, and drummer / percussionist Stuart Brown, who can create unimaginable sonic worlds alone. This is music for the twenty first century, played by four musicians with huge reputations who don’t rest on their laurels.
Paul Harrison – Piano
Phil Bancroft – Saxophone
Graeme Stephen – Guitar
Stu Brown – Drums
Support from STRATA
Minimalist improvised music from Harry Weir, Liam Shortall, Fergus McCreadie, Joe Williamson, Angus Tikka, Graham Costello.
Until 2am in the Basura Blanca Basement
DJ-Producer Rebecca Vasmant is bringing a fresh new twist to dance music with her love of jazz, the original form of unbridled spiritual sonic expression. Join DJ Rebecca for a special jazz festival party where she’ll be playing Jazz, Funk, Latin & Afro Beat with exciting jazz guests jamming along with her on the night! Rebecca has already made a name in Glasgow with her Made In Glasgow and Know The Way parties, monthly spot on BBC Radio Scotland’s ‘The Jazz House’, running a popular record fair with the venerable Sub Club and touring the world for Ministry of Sound, taking her to 22 countries in the last two years, including premiere spots in France, Germany, Italy, Spain, Brazil, Estonia, India, Africa, Nicaragua, Bosnia, Latvia, Dubai, Austria, Turkey, Serbia, Algeria and Bulgaria.
London based trio Glasshopper, is an exciting young group born out of a love for melody and improvisation. Led by its saxophonist Jonathan Chung, the group brings together the creative minds of guitarist James Kitchman and drummer Corrie Dick. Influenced by the free, jazz, rock and folk worlds, the band performs Jonathan’s emotionally sophisticated compositions with reverence and abandon, intricately weaving together moments of sonic bliss and euphoric rock-outs. With improvisation at the heart of each performance, Jonathan, Corrie and James are unified in creating original interpretations that inspire fresh stories to unravel within the listener’s imagination…
In association with Twin People Promotions
Michael Janisch’s Paradigm Shift + support from The Murray Brothers
The 2016 MOBO Award Nominee for Best Jazz Act, Michael Janisch, has established himself as a tireless creative force across the developing international spheres of contemporary improvised and experimental music. Based in London (originally from the USA), he successfully traverses this creative topography as a virtuosic electric & double bassist, composer, bandleader, producer, session musician and record label owner. His current cross-genre project as composer and bassist, Paradigm Shift –a five piece band which ambitiously combines electro-acoustic, contemporary jazz, free improvisation, future-funk, multi-metered groove, punk and electronica – has seen the release of the eponymous, far-reaching double album on Whirlwind Recordings, garnering airplay on BBC Radio 6’s Gilles Peterson Worldwide, JazzFM, NPR and WDR Radio, and continues to prompt glowing responses from the music industry and fans alike as one of the most exciting live jazz shows in Britain.
Joining Janisch for his Glasgow Jazz Festival date is Steve Winwood’s tenor saxophonist Paul Booth, John O’Gallagher on alto, Grammy-winner Cedric Hanriot on keys and Scotland’s own Andrew Bain on drums.
Nick Peacock – 9:30 – 10:00pm
Tony Allen – 10:00pm
Tony Allen – Drums
Mathias Allamane – Double Bass
Jean Phi Dary – Piano
Irving Acao – Tenor Saxophone
Support comes from DJ Nick Peacock
Tony Allen needs little introduction. One of the founding fathers of afro-beat, his drumming style has influenced generations of musicians over the past 50 years. An original member of Fela Kuti’ s Africa 70 and the inventor of the distinctive afrobeat drum rhythm, Tony went on to collaborate with artists from King Sunny Ade to Damon Albarn, continuing to be a true innovator with his own music, drawing on electronics, dub, rnb + rap in a synthesis he refers to as ‘ afrofunk’ , clearing his own path and demonstrating the versatility and diversity of his composing and playing.
With his latest project, Tony realizes a childhood dream: to play the music of the most African of the bebop fathers, Art Blakey. This same drummer who spent years in Africa, earning the nickname “Buhaina”, was a major influence on Tony from a young age. When he first heard an Art Blakey record back in Lagos in the early 60s, he thought he was listening to several percussionists playing at the same time, not imagining that a single drummer was playing his instrument. From there on, year after year, he too developed a unique & personal way of playing the drums as if it were an orchestra, building on the Art Blakey legacy.
Scheduled for release in Autumn 2017 on legendary Jazz Label Blue Note, with an EP due in Spring 2017, this tribute to one of the original inspirations that led to Tony creating afrobeat is a way of rounding the circle, with the world’ s most famous afrobeat drummer, who has inspired so many other drummers, paying tribute to the source of his initial inspiration. This is a defining moment in the history of Jazz and Afrobeat and the relationship between the two genres.
Doors 7:00pm – Show starts at 7:30pm
Nérija are a collective of London based musicians playing exciting and original music. Consisting of Sheila Maurice-Grey on trumpet, Rosie Turton on trombone, Cassie Kinoshi on alto sax, Nubya Garcia on tenor sax, Shirley Tetteh on guitar, Inga Eichler on double bass and Lizy Exell on drums, Nérija have toured across Europe in such places as Norway and Germany, and have played alongside top UK jazz musicians such as Nathaniel Facey of Empirical and Zoe Rahman. Meeting through a Tomorrow’s Warriors Development program, Nérija began from an initiative created to specifically address the imbalance in the number of women achieving success in the music industry. Recent performances include UK festivals Love Supreme, Latitude, Brainchild, Manchester Jazz Festival and Jazz Re:Fest.
Sheila Maurice-Grey – Trumpet
Rosie Turton – Trombone
Cassie Kinoshi – Alto sax
Nubya Garcia – Tenor sax
Shirley Tetteh – Guitar
Inga Eichler – Double bass
Lizy Exell – Drums
Doors 8:00pm – Show starts at 8:30pm
A Sanskrit term that means “discourse”. Another meaning suggested for the word is “threads”. Sutras were originally oral traditions and designed to prompt the memory.Sutra was born in September 2016 when drummer Iain Copeland put together the Scottish – Hungarian project: Barátok. During that project a lot of experimentation occurred not only in the world/traditional idiom that the project was focussed on, but also the more improvisational side to the music, eloquently defined in the 2 tracks ‘Slow Mo’ and ‘Black Blues in Grey’. Both original compositions by band members. Now 4 of the, predominantly, jazz players in the Barátok project have come together to form Sutra. A further exploration of some of the music and ideas they mutually collaborated on in Sept 2016. The name Sutra fits very nicely into Zoltan’s background of his studies of Indian Classical Music for 11 years and also dovetails nicely into Copeland’s artist residency in 2011 in Sutherland where oral tradition was a large part of the research he carried out before writing and producing the solo album ‘A Northerly Land’ (which Malcolm was a part of as well). Now the group of musicians is intent in bringing all the differing ‘threads’ from their collective experience together to form a new voice on the jazz circuit, focussed on exploration of soundscapes and ‘raga’ style improvisation with elements of traditional folk and jazz.
Featuring Zoltan Lantos, Iain Copeland, Gus Stirrat and Malcolm MacFarlane.
Until 2am in the Basura Blanca Basement
London born US based Bass player and record producer Janek Gwizdala has been on the international music scene for over a decade. He has been touring as a band leader and working as musical director or sideman with some of the most respected names in the industry. These include: Randy Brecker, Hiram Bullock, Mike Stern, John Mayer, Airto Moreira, Chuck Loeb, Peter Erskine, Flora Purim, Pat Metheny, Billy Cobham, Bob James, John Patitucci, Bob Mintzer, Marcus Miller, Jojo Mayer, Paul Shafer, Dennis Chambers, Gary Novak and Wayne Krantz. As a recording artist and band leader Janek has released 7 albums as a leader, as an author published two critically acclaimed books, and toured the world extensively, while also touring as a lecturer and clinician at the world’s leading educational establishments.
Part of the Glasgow Mod Weekender 2017
Geno Washington and The Ram Jam Band with support from Berry Tweed and The Chasers,
Geno Washington is an undisputed Master of Soul – he has released thirteen studio albums since 1966 and has performed alongside James Brown, The Rolling Stones, Bo Diddley and The Everly Brothers, to name but a few. He is back on tour with The Ram Jam Band aged 70, rocking crowds harder than ever.
Tom is a trumpeter and creative musician living in Bedfordshire, and is a graduate of the BMus Jazz course at the prestigious Birmingham Conservatoire with First Class Honours. He has played with people such as Jacqui Dankworth, Osian Roberts and Frank Griffith, and has played at many top venues, including Cheltenham Jazz Festival, The Royal Albert Hall and The Spice of Life.
“Tom Syson is one of the most interesting voices in the emerging generation of improvisers. His broad sphere of musical influence and exceptional intsrumental facility means that he is without doubt one to watch”Percy Pursglove
After completing a UK tour in February 2016, the Tom Syson Sextet recorded their debut album ‘ Green’ at Peter Gabriel’ s Real World Studios in August. The album was produced by Percy Pursglove and featured the JazzFm Vocalist of the Year 2016 Lauren Kinsella on a track. It is entirely made up from original material written by Tom, and creates a variety of exciting textures to keep audiences on their toes, with a focus on rich melodies. This show at the Glasgow Jazz Festival is a chance to see one of the most exciting and melodic modern bands made up of musicians at the very forefront of the British Jazz scene as they showcase the music of their new album.
Tom Syson – Trumpet
Vittorio Mura – Tenor Sax
Ben Lee – Guitar
David Ferris – Piano
Pete Hutchison – Double Bass
Jonathan Silk – Drums
Taking you back to the golden age of jazz, Dani Sicari & The Easy Rollers is a roaring seven-piece vintage jazz band featuring award-winning musicians from The Royal Northern College Of Music in Manchester. Performing music from the illegal speakeasy bars of the Prohibition era, the band has had audiences jumpin’ and jivin’ on dance floors across the country with appearances at Manchester, Brecon and Marsden Jazz Festivals, Spinfest, Buxton Festival & Manchester Day. Dani Sicari (voice), Alex Hill (piano), Aaron Wood (trumpet), Jamie Stockbridge (saxophone & clarinet), James Girling (electric guitar), Ali McMath (double Bass), Matt Brown (drums)
Blue Note & Beyond
Guitarist Joe Williamson presents a programme of music from the Blue Note Era, featuring classic tunes from the likes of John Coltrane, Joe Henderson, Grant Green and Cedar Walton. Joining him will be some of Glasgow’s finest: Mario Feraud (Tenor Saxophone), Fergus McCreadie (Piano), Conor Murray (Double Bass) and Doug Hough (Drums).
Doors 9:00pm – Show starts at 9:30pm
An Evening With Ginger Baker
Ginger Baker – Drums
Pee Wee Ellis – Saxophone
Alec Dankworth – Bass
Abass Dodoo – Percussion
Support comes from DJ Mark Robb
Why? by Ginger Baker’s Jazz Confusion, is the legendary drummer’s first release as a leader since he and his Denver Quintet to Octet recorded their critically acclaimed Coward Of The County for Atlantic back in September of 1998, and like that historic session, Why? showcases the drummer’s mastery of the kind of polyrhythmic vocabulary which connects the modern jazz of Charlie Parker and Dizzy Gillespie, with the blues and parade rhythms of Congo Square in old New Orleans and the talking drums of West Africa.
Stephen Thomas Erlewine, writing in the All Music Guide, characterized this recital as “…startlingly fresh. Using hard bop as a foundation, they’re unafraid to venture into challenging territory…not only are the compositions challenging, they’re delivered with ease by the group, which are remarkably empathetic and graceful. In fact, it’s a testimony to Baker’s skills as a leader that he never dominates, preferring to let all the parts weave together to create a full, rich sound.”
Much the same can be said of the stripped down, soulful quartet he fronts on Why? And in a sense, from the celebratory swing of Sonny Rollins’ “St. Thomas” to the ritual dance of the traditional African song “Aiko Biaye,” and a number of original compositions by the drummer himself, the music on Why? finds Ginger Baker having come full circle—back to the uncompromising jazz music which inspired him to become a drummer in the first place.
“I was never a rock drummer, for God’s sake,” Ginger snarls with considerable exasperation. “Writers like to lump everything into these bloody little bags so they can label it. It’s just plain stupid. Music transcends all of these ridiculous categories. To this day, people characterize Cream as a rock and roll band. Bollocks!
“Yes, we played songs and sold a lot of records, but in concert we mainly played improvised music; Jack Bruce and I cut our teeth on modern jazz in the early ‘60s, and Eric was a master blues player. Because of our musical roots, the first time we had a play at my crib in 1966, the connection was magical and instantaneous. Then in 2005, when we got together to rehearse for four nights at the Royal Albert Hall, when we hadn’t performed in public since 1968, it was like we’d just been off on holiday for a few weeks. The chemistry was still there.
“I began playing with Dixieland bands in the late 1950s, and those musicians made it a point to insist that I listen to the music of the great New Orleans drummer Baby Dodds, which was like the best thing that ever happened to me. At about that same time, I heard the great drummer Max Roach performing with Charlie Parker, Dizzy Gillespie, Bud Powell and Charlie Mingus on that famous Jazz at Massey Hall recording, and that was completely inspiring—Max was a complete musician, and he showed how the drummer didn’t have to take a back seat to anyone.
“Then one evening, I was playing a gig the Flamingo All-Nighter, and the saxophonist Tubby Hayes heard me and went to tell Phil Seamen that he had to hear this drummer. Well, when I got off stage, there was Phil Seamen to greet me. I was just in awe of Phil—he was the king of British jazz drummers—just a master player. He took me back to his flat, and began playing all of these polyrhythmic African percussion records for me. ‘Okay, where’s the beat?’ And straightaway I got it—which shocked the hell out of him. ‘You’re the only one who’s ever understood how this music goes.”
Ultimately, boundaries on the London scene began to break down as work playing modern jazz became harder to come by, and when drummer Charlie Watts stepped aside to give Ginger the drum chair in the Alexis Korner band (Ginger returned the favor, hooking Charlie up with Brian Jones in what became a formative version of the Rolling Stones), it marked Ginger’s entrée into the emerging British blues/R&B scene, culminating in the drummer’s musical breakout as a member of the Graham Bond Organization, featuring the latter’s Hammond B-3 organ and Dick Heckstall-Smith’s tenor saxophone—while inaugurating a tempestuous, combustible creative relationship with bassist Jack Bruce, which somehow has endured for close to fifty years.
The Graham Bond Organization was an enormously popular and influential band on the British music scene, and for all intents and purposes, Ginger was the group’s leader. At the point where things had run their course, the drummer was determined to start a band of his own—the idea being to feature the cream of British musicians—reaching out first to guitarist Eric Clapton, late of John Mayall’s Bluesbreakers, and then at Clapton’s behest, to bassist Jack Bruce, with whom Baker had famously feuded in the Bond Organization.
For the better part of two years, Cream was the most popular touring band on the popular music scene, paving the way for the birth of progressive rock and heavy metal bands such as Led Zeppelin on one hand (an honor for which Ginger denies paternity), and the emerging jazz-rock fusion movement of bands such as guitarist John McLaughlin’s Mahavishnu Orchestra on the other (McLaughlin had collaborated with Baker and Bruce in an early edition of the Graham Bond Organization). Then, when Cream burnt out, Ginger went on to collaborate with Clapton and Stevie Winwood, late of Traffic, in the short-lived but influential Blind Faith, which like Cream, operated on the cusp of several musical genres.
From the ashes of Blind Faith, Ginger then formed an ambitious big band, Ginger Baker’s Air Force, which reflected his passion for jazz, blues, R&B and African music, and allowed him to feature beloved mentor Phil Seamen in a two-drummer, multi-percussion line-up (and subsequently to engage in a memorable encounter with another rhythmic inspiration, John Coltrane’s innovative drummer, Elvin Jones, which was recorded, but never released by Ginger’s label). And in another memorable encounter at the 1972 Munich Olympics, Ginger engaged in a passionate duet with the legendary jazz drummer, Art Blakey.
“It meant the world to me to be accepted not only as a jazz drummer, but as a peer by my musical fathers and mentors, Phil Seamen, Elvin Jones and Art Blakey, and two decades later by Max Roach and Tony Williams when we collaborated in that Percussion Summit in Verona, Italy. I particularly remember playing another festival back in the 1970s, when Philly Joe Jones sought me out after the gig,” Ginger recalls, his voice betraying his emotions. “Philly told me, ‘When you were soloing, it was like you were telling a story up there.’ I was so moved by the generosity of that gesture, because he didn’t have to reach out or say a damn thing to me; I mean, who was I—he was Philly Joe Jones, a jazz legend.”
What followed in the 1970s was a period of creative outreach and ambition, which started off with such great promise, before going off the rails. Ginger followed up on his creative collaboration with Afrobeat firebrand Fela Ransome-Kuti and his drummer Tony Allen, by moving to Nigeria where he entertained his twin passions for African music and polo—culminating in the drummer making a major financial investment in a world class recording studio in the capitol city of Lagos. Long story short? Ginger ran askance of power brokers from a major international music corporation—who viewing his studio as a direct challenge to their control of the local music scene, set out to destroy him. Meanwhile, things had become very tense, very tense indeed between Fela and those political powers with whom he was feuding, and as things played out, Ginger was forced to beat a hasty exit out of town. Why? Don’t ask.
By the decade’s conclusion, having lost a small fortune in Lagos, Ginger entertained extended stints with the Baker-Gurvitz Army and a much shorter one with the band Hawkwind in a bid to replenish his resources, but in the end, a looming encounter with the tax man, and his desire to put his drug dependency behind him once and for all, led the drummer to relocate to a primitive stone house in the Italian province of Tuscany, where he tended an olive farm and played the odd gig.
By mid-decade, bassist-producer Bill Laswell sought him out, and featured Ginger’s drumming on an all-star recording session with ex-Sex Pistols front man Johnny Lydon, while building provocative world musical arrangements around him with the likes of Shakti-violinist L. Shankar, Funkadelic keyboard icon Bernie Worrell and bass virtuoso Jonas Hellborg on a pair of well-received instrumental albums, Horses And Trees and Middle Passage, while Ginger went on to collaborate with Hellborg on the free form trio improvisations of 1990’s Unseen Rain.
By this time, Ginger had relocated to the horse country north of Los Angeles, collaborating on an excellent set of songs and instrumental jams with the trio Masters of Reality—Sunrise on the Suffer Bus. When, inevitably, that band proved a little too hip for the room, a one-off gig with Ornette Coleman’s renowned bassist Charlie Haden and blues guitarist Shuggie Otis, led someone to finally ask Ginger to make a recording of the kind of modern jazz instrumentals which had inspired him to become a musician in the first place—a mere thirty-five years after he began his professional career.
Resulting in the acclaimed 1994 session, Going Back Home (Atlantic), a collaboration between Ginger, bassist Haden and guitar innovator Bill Frisell at Ocean Way Studios in Hollywood.
“That recording session was completely spontaneous,” Ginger explains. “We all showed up with some tunes, but otherwise, having never played together, it was all completely improvised—pure jazz in the best sense of that word. I figured it would either be a total disaster or something quite brilliant. It turned out to be a very stimulating, enjoyable session; the album sold well, got great reviews, and led to a lot more creative opportunities to play jazz. Charlie, Bill and I got to play a very nice festival gig in Frankfurt, Germany the following year, and off of that Max Roach reached out to me to play with him, Tony Williams and the M’Boom Re: Percussion Ensemble at the famous Coliseum in Verona, Italy—where they stage all of the operas—on the same bill as Keith Jarrett’s trio with Gary Peacock and Jack DeJohnette. That was a wonderful experience, and it was so gratifying to spend time with Max and Tony, who were enormous influences on my music. We were scheduled to document that project at a recording studio the first week of March, 1997, in New York, but a week before the session, Tony suddenly passed away, which was a great personal loss for me, and for the music.”
Having relocated to Denver, Colorado, Ginger translated his passion for polo and jazz, into a series of events in which a polo match was followed by a concert event showcasing perhaps the best band Ginger ever had, including tenor saxophonist Fred Hess and trumpeter Ron Miles, who as Ginger’s musical director, was lovingly showcased on five of the seven tunes when Coward Of The County was released in 1999, culminating in a triumphant week-long engagement at New York City’s Iridium. “We really blew them away on that gig,” Ginger recalls proudly. “And when Max [Roach] came by to lend his support, well, that was quite special.”
Ironically, just at the point Ginger had finally geared up a world-class jazz band of his own, the train went off the rails again. Why? Don’t ask. Ginger ended up in a dispute with the immigration people over the status of a groom he had hired to look after his horses, and before you know it, his own visa in question, Ginger felt compelled to leave the United States, pulling up stakes and relocating to South Africa. It was while he was living in South Africa that he undertook a triumphant set of reunion concerts with Cream, as documented in the CDs and DVDs culled from four nights in the spring of 2005 at London’s Royal Albert Hall, leading to three sold-out nights later that fall at New York’s City’s Madison Square Garden.
In the decade to come, time finally caught up with a drummer who had mastered time itself so convincingly, in the form of crippling arthritis and debilitating emphysema. Around the time Jay Bulger’s acclaimed documentary, Beware Mister Baker, began making the rounds, Ginger’s situation in South Africa became untenable. Why? Don’t ask. Relocating back to England, the drummer formed Ginger Baker’s Jazz Confusion in 2012, which based on the evidence of their acclaimed release on the Motema label, Why?, is anything but muddled, teaming the drummer with the jazz/funk tenor saxophone master Pee Wee Ellis (of James Brown and Van Morrison renown), bass virtuoso Alec Dankworth (son of jazz singer Cleo Laine and British big band leader and alto player, Johnny Dankworth), and the Ghanian percussionist Abass Dodoo.
Referencing as it does Ginger’s abiding love for modern jazz, blues and African rhythms, Why? offers a compelling portrait of a master drummer in the autumn of his years—the wisdom of his artistry superseding any limitations that age and illness may have imposed on him. And over the course of a series of live gigs at clubs and festivals in Europe, the United Kingdom and the United States, audiences have responded enthusiastically to Ginger Baker’s spiritual resolve and tenacity as he brings all of his insights and experience to bear on the jazz music he loves so deeply.
“I sometimes wonder if God is not keeping me alive and in constant pain to punish me for my wicked ways,” Ginger snorts defiantly, though his mood gradually softens by degrees. “You see, the thing is, while I no longer have the endurance or the velocity I could bring to bear on the music in my prime, in every other way I’m actually playing better than I ever have. Alec and Abass and Pee Wee are such marvelous players, and so sensitive to the ensemble sound, that because we don’t have a chordal instrument, I have to make every stroke I play mean that much more. And what’s really rewarding, is that no matter how awful I may feel, once I sit down behind the drum kit and begin to perform with my band-mates, all of that pain is swept away by the joy I feel in playing the drums once more.”
Doors 7:00pm – Show starts at 7:30pm
The SNJO celebrates the centenary of explosive jazz drummer and bandleader, the one and only Buddy Rich in a special concert that will feature SNJO favourite, Alyn Cosker on drums and will capture the spirit of Buddy Rich at the height of his career. Many world-famous jazz drummers today owe their careers to the drive, determination and sheer grit of Buddy Rich. He remains a primary influence in jazz drumming decades after his last performances, and his power, prowess and artistry havealso inspired countless contemporary rock drummers. Rich was noted for his energy, his subtlety, his arrogance, his wit and his infamous temper. Nevertheless, his treatment of music from West Side Story and tunes like Love For Sale and Norwegian Wood are indicative of an expressive, passionate and utterly dedicated musician. It takes a big band with big ideas and big ambitions to tackle the enormous musical personality behind the Buddy Rich persona. The SNJO is indisputably one of them.
This show will feature a very special opening set from Tommy Smith & Brian Kellock Duo.
Saxophonist Tommy Smith has been a presence on the world jazz scene since his teenage years. At the age of nineteen he was touring internationally with Gary Burton’s Whiz Kids quintet and three years later he signed to the legendary jazz label Blue Note.
Smith has since gone on to establish and direct the internationally acclaimed Scottish National Jazz Orchestra and he regularly tours the world with Norwegian bass master Arild Andersen’s trio, widely regarded as one of the premier groups working in jazz today.
In 2017 Smith celebrates his 50th birthday with a duo tour featuring the pianist he calls his own personal orchestra, the hugely resourceful Brian Kellock.
Friends for over thirty years, Smith and Kellock form a partnership that spins classic songs into spontaneous jazz gold. Their concerts are master classes in the arts of improvisation and communication and have been described as world class by Jazz Journal magazine.
Don’t just take our word for it. Having worked with Smith, three of the world’s greatest jazz musicians volunteered their own tributes:
“I have been around some powerful bandleaders in my time (eg Elvin Jones, Miles Davis, Chick Corea) and I can tell you that Tommy ranks up with the best as a leader/conductor as well as a player” – Dave Liebman
“The amazing Tommy Smith” – Randy Brecker
“Tommy Smith is a prince among jazz musicians” – Kurt Elling
Doors 8:30pm – Show starts at 9:00pm
Mixing equal measures of sweetness and sass, grit and glamour, heartbreak and hilarity – cut with a dash of potent Scottish spirit – Since 2006 The Bevvy Sisters have won a uniquely distinctive place in audiences’ hearts.Their radiantly triple-layered voices and artfully wide-ranging repertoire of vintage,contemporary and original songs stand out from the crowd in both style and substance.Pure vocal magic, distilled to the power of three. The Bevvy Sisters are Heather Macleod, Gina Rae & Louise Murphy with David Donnelly.
The audience know they’ve seen something special * * * * * BROADWAY BABY
Energetic yet measured. Skillful and exuberant* * * * THE SCOTSMAN
Doors 7:00pm – Show starts at 7:30pm
Declan Forde is a pianist from Scotland, and has been living in Berlin since 2014. In this time he has had the pleasure of performing with Greg Cohen, John Hollenbeck, Tobias Delius, Max Andrzejewski and many others. As well as establishing groups: The Far East Trio with bassist Sidney Werner and drummer Aidan Lowe; FROG with violinist Fabiana Striffler and bassist James Banner; The Good Old Good Ones with singer Mirna Bogdanovićand James Banner and duo Practically Married also with James Banner.
He has performed and toured with the National Youth Jazz Orchestra of Scotland, Scottish singer/songwriter Rachel Sermanni and Norwegian improv duo Vilde&Inga. He was a finalist in the 2015 Young Scottish Jazz Musician of the year competition and recipient of the Yorkshire Live Music Project Bursary award 2013-2016. He is also a current Fellow of the Yehudi Menuhin Live Music Now Berlin e.V. Association.
Greg Cohen is a bass player. He has also worked as an arranger, producer, musical director and composer for the theatre, film, television and recording studios. The recordings he has been a part of have received various critical acclaim – including the Pulitzer Prize (Ornette Coleman), gold records and many album of the year awards. He has worked with a variety of artists in many styles of music. From A (Woody Allen, Laurie Anderson, Fiona Apple) To Z (John Zorn, Tom Ze)
Doors 8:15pm – Show starts at 8:30pm
In association with Dutch Performing Arts.
Kaja Draksler (1987) is a Slovenian pianist and composer. After her studies in the Netherlands (BA in jazz piano and MA in classical composition), she decided to stay in Amsterdam, where she is an active member of the improvisors scene, performing extensively all over the Europe. Besides her frequent solo concerts, she has been working regularly with Čudars-Draksler Duo, Feecho, BadBooshBand, and Draksler-Santos Silva duo. She is also one of the founding members of the interdisciplinary group I/O. She recently formed her Octet. As a composer she has been commissioned by various international groups, ranging from vocal and chamber ensembles to big bands and orchestras.Kaja is interested in finding ways to merge the composition and (free) improvisation by working with different structures and musical logics. She is drawn to the idea of erasing the stylistic and historical musical borders, and discovering personal expression and language through composition and improvisation.
A Total Refreshment Centre, Glasgow Jazz Festival and Start to End presentation: Vels Trio perform Madlib’s Shades of Blue with special guests.
The intersection between jazz and hip-hop has been a home for many artists. Whether it’s producers digging through old records so they can flip a sample, jazz musicians making an amalgam between the sampled track and the OG recording. In 2003, Madlib was invited into the dank catacombs of the original Blue Note master tapes for a “remix” project. Remixing classics by Gene Harris & The Three Sounds, Donald Byrd, Ronnie Foster and Bobby Hutcherson into outsider works of downtempo and instrumental hip-hop art.
Cameron Dawson – Bass
Dougal Taylor – Drums
Jack Stephenson-Oliver – Keys
Until 2am in the Basura Blanca Basement
Glasgow Music City Tours, in partnership with Glasgow Jazz Festival, presents an entertaining walking tour tracing the history and highlights of Glasgow’s longest-running annual music event. Join us and hear about visits from the greats, including Miles Davis, Dizzy Gillespie, Sarah Vaughan and Tony Bennett. We have colourful stories of weird and wonderful rider requests; medical emergencies and all the dope on venues old and new. Walk with us and get the inside track on how the Festival has helped make Glasgow the vibrant music city it is today.
This tour includes a dram plus a 50% discount on Tommy Smith’s SNJO Buddy Rich concert at the New Auditorium in the Royal Concert Hall on the evening of the tour. Simply take your walking tour ticket or booking confirmation to the Royal Concert Hall box office and purchase tickets over the counter for 50% discount.
Tour will run on Saturday 24th June.
Start time 2pm.
Start point is the Scottish Music Centre on Candleriggs.
Forged out of the lively street music scene in the French quarter of their homeland in New Orleans. The Roamin’ Jasmine six piece band transport you to various New Orleans music worlds of the past re-imagined into the present, their repertoire explores 1920’s speakeasy blues, vintage calypso and 1950’s New Orleans Rhythm and Blues and swing all set to traditional jazz instrumentation with original arrangements.
“This is music to remind you that the New Orleans tradition is still very much alive and that even the most grizzled of Crescent City tunes, with their origins spread all over the Deep South and the Caribbean, can be reinvigorated to have both the character that comes with age and the effervescence of youth.” Rob Adams, The Herald
Jazz singer and songwriter from Orkney, Marianne grew up in a musical family, surrounded by Orkney’s rich culture of music and art. Marianne sings with a variety of colours and tone in her voice and uses a breathy twist that is undoubtedly hers. Finding influence in singers such as Billie Holiday, Ella Fitzgerald and Amy Winehouse among others, their expressive jazz vocals and meaningful delivery of tone and phrasing is what she tries to take from these idols and recreate in her own singing. Her song writing is noted for its quirky charm and inviting feel. Following her success at this year’s Celtic Connections, as a winner of a prestigious Danny Kyle award, Marianne plans to release an album of original songs later this year. Marianne will be performing famous jazz standards, modern songs rearranged and original material.
New group, new compositions and new sounds from Raymond MacDonald where breezy melodies and lush harmonies combine with free wheeling improvisations. Expect exhilarating energy, fragile textures, mischievous moments, gorgeously teary melodies, and some creative surprises.
Featuring Raymond MacDonald (saxophones) Stuart Brown (drums), Robert Henderson (trumpet), Emma Smith (bass), Jim MacEwan (keyboards), Graeme Wilson (saxophone), Emma Tomlinson (viola).
“Exhilarating music. It eliminates the boundaries not just between composition and improvisation but between cultures and idioms”. Sydney Morning Herald
Raymond MacDonald is a saxophonist and composer who plays in many collaborative free improvisatory contexts where his roots in pop music can also be heard in his playing and writing. Working with musicians such as Evan Parker, Marilyn Crispell, George Lewis, David Byrne, Jim O’Rourke, he is a founding member of the Glasgow Improvisers Orchestra, and has released over 60 CDs (including many with Scottish guitarist George Burt) and toured and broadcast worldwide. He has written music for film, television, theatre, radio and art installations and has a long standing collaboration, Scarecrows and Lighthouses, with artist Martin Boyce and film maker David MacKenzie.
∆UTUMN IS HERE…
“Delta Autumn are turning the concentrated frown of traditional jazz and hip-hop upside down and showing us how fun they can be. They also show off their musical chops too, but who can blame them? These dudes just wanna have fun” — Jack Parker, BBC Introducing
“Delightful head-clearer that retains a cute post-chillwave tinge.” — Line Of Best Fit
Robbie Moore = Vocals, Keys, Production
Luke Morrish-Thomas = Production, Programming
Thomas Seminar Ford = Bass, Guitar, Vocals, Production
Ric Yarborough = Drums
Smashing hip hop, glitch, pop, rock, jazz and electroacoustic compositional techniques together to create a sound that sits somewhere between James Blake, Flying Lotus and Thundercat, their debut five-track ep is a fresh and welcome addition to the UK’s already exceptional electronic music offering. Initially conceived as a studio-only project by musician-composer Robbie Moore and producer-engineer Luke Morrish-Thomas, Delta ∆utumn has since expanded to take in guitarist Thomas Seminar Ford and drummer Ric Yarborough, each augmenting their setups with an array of electronics and triggers. Since the huge critical success, Delta ∆UTUMN are back with their brand new album taking fresh new genre-bending ideas and take on modern jazz with an electronic edge.
Show starts at 3:00pm
WE LOVE SINGING JAZZ!
The City’s very own Jazz Choir – JAZZ CHOIR GLASGOW – with Musical Director Jim Clelland and our House Band THE JIM CLELLAND TRIO invite you to…
CHASE ALL YOUR BLUES AWAY!
AN HOUR OF GREAT JAZZ SONGS WE ALL KNOW AND LOVE!
With Special Guests
Jazz Line-Up is BBC Radio 3’s weekly jazz programme exploring established, mainstream players and the new generation of younger artists.
This special event will be presented by Kevin Le Gendre and features five exciting acts who are playing at the festival, including Tommy Smith/Brian Kellock, and also the Brian Molley Quartet, all for future broadcast on Jazz-Line Up.
The free ticket ballot is now open via the ticket button above.
Scotland’s only Big Band Festival returns for 2017. For the 5th year running we will be showcasing some of the West of Scotland’s best big bands and 2017 will be part of the Glasgow International Jazz Festival. From early big band swing to contemporary pieces and premieres written and arranged by local Scottish composers, Zig Zag Big Band will feature special guest Soloist Konrad Wiszniewski and Berrie Big Band, the St. Andrews Sisters. An exciting fusion of jazz, blues and funk based music.
IT DON’T MEAN A THING IF IT AIN’T GOT THAT SWING!
JAZZ CHOIR WORKSHOP for BEGINNERS!
We all know the songs…
Fly Me to the Moon; Lullaby of Birdland; It Don’t Mean a Thing (If It Ain’t Got That Swing); Night and Day; They Can’t Take That Away from Me; The Girl from Ipanema; Come Fly with Me; Blue Skies!
…To Name But a Few!
If You Enjoy Singing These Kind of Songs and want to sing them with others …Then This Workshop is for You!
LEARN THE BASICS OF SINGING JAZZ IN A CHOIR…
LEARN 2 WELL-KNOWN JAZZ SONGS FROM SCRATCH…
For those who want to…PERFORM THE 2 SONGS WITH JIM CLELLAND TRIO, JAZZ CHOIR GLASGOW AND SPECIAL GUESTS IN THE AFTERNOON CONCERT!
To Reserve a place or for more information on this FREE workshop please email: email@example.com
Doors 7:00pm – Show starts at 7:30pm
Theo Croker – Trumpet
Anthony Ware – Sax
Michael King – Piano
Ameen Saleem – Bass
Francesco Ciniglio – Drums
Theo Croker’s 2016 release “Escape Velocity” is ranked the #1 Jazz Album in the UK by Echoes Magazine. The accolades continue worldwide with iTunes (Global), The Observer (US) and others naming the album as one of the Top Jazz albums of 2016. With a global spotlight release on iTunes and Amazon, now over 1.5 million cumulative streams on Spotify, and nearly 1 million streams for the track “No Escape from Bliss” it is clear that listeners agree.
Upon the album’s release, The Wall Street Journal heralded the album as “ timeless and of-the-moment”. His live performances, the Huffington Post lauded Croker’s band DVRKFUNK, saying they were “a tight front line that weave in serpentine precision and are backed by a powerful rhythm section that pushes the groove.” Croker recently lent his inimitable talents as composer, arranger and musician to J. Cole’s latest release on title track “4 Your Eyez Only”, as well as “For Whom the Bell Tolls” and “Ville Mentality”. He is also featured on Common’s newest album, “Black America Again.”
As the grandson of the late trumpeter Doc Cheatham, and former student of legendary jazz trumpeter Donald Byrd, trumpeter Theo Croker is an artist steeped in jazz tradition. Well-versed in the swing, bop, and modal styles of acoustic jazz, Croker’s own music reveals a love of organic funk, soul, and gooey, groove-oriented hip-hop. It’s a vital amalgam that would have pleased the forward-thinking Byrd, whose own ’70s funk-jazz albums are an obvious touchstone for Croker on his hypnotically enlightened 2016 effort Escape Velocity.
He championed this sound on his 2014 Dee Dee Bridgewater collaboration, Afro Physicist, and he pushes it to the limits on this follow-up. Taking the production reins from Bridgewater, who also appears here on the euphoric “Love from the Sun,” Croker has crafted a set of deeply spiritual, densely layered, yet beautifully uncluttered compositions that find him bringing his funky world view into sharply illuminated focus. Croker details his point of view on the spacy opener “Raise Your Vibrations,” in which he delivers a spoken word poem saying, “Our divine earthly purpose is our own to fulfill.”
Helping to raise Croker’s musical vibrations is his ensemble, a group he’s played with for several years, featuring saxophonist Anthony Ware, keyboardist Michael King, guitarist Ben Eunson, bassist Eric Wheeler, and drummer Kassa Overall. Also adding color to the proceedings are guitarist Femi Temowo and saxophonist Irwin Hall. While Croker certainly divines inspiration from Byrd’s ’70s albums, there’s nothing retro about his own bass-and-drum-heavy sound. Cuts like the swirling “In Orbit” and the head-bobbing “This Could Be (For the Traveling Soul),” find Croker weaving in elements of shimmering electronica and subtle world music textures that feel more contemporary than old-school.
Other tracks, like the soaring “Transcend” and the organ-driven “Changes,” bring to mind no less than a feverish combination of the dramatically soulful ’70s work of saxophonist Gato Barbieri and the brightly hued ’90s acid-jazz of the Brand New Heavies. While Croker’s creative vision is a hybridized, cross-pollinated take on jazz, he remains at his core an exploratory improvisationalist. Cuts like the propulsive “Meditations” and the socially minded, Latin-tinged groover “We Can’t Breathe” (inspired by the 2014 choking death of Eric Garner), are long enough to allow for some edge-pushing solos from Croker and his band.
Ultimately, with Escape Velocity, Croker proves he’s got deep ideas about life, spirituality, and how music connects us all. It’s an ebullient, groove-conscious message perhaps best expressed on the bass-heavy “It’s Gonna Be Alright.” Trading the song’s title phrase back and forth like old friends high-fiving on the street, you can hear Croker and his band smiling.”
Doors 7:00pm – Show starts at 7:30pm
Inspired by the classic albums by Charlie Parker and Clifford Brown, Ryan Quigley with strings features some of the most well known songs with brand new string arrangements penned by Quigley himself.
The set list includes, When I Fall In Love, Little Girl Blue, Every Time We Say Goodbye, Nature Boy plus many more beautiful and iconic songs.
“When I was deciding what songs to arrange, all I had to do was think of my favourite song, the beauty being I have so many favourites! Every single song that I’ve chosen to arrange and perform is very dear to me.”
As a busy studio musician, Quigley has worked with the likes of Vince Mendoza, the Metropole Orchestra, George Michael and Robbie Williams (whom he was one of the featured arrangers of Robbie’s album The Heavy Entertainment Show) as well as having played guest principal trumpet with some of the country’s top symphony orchestras from the RSNO to the Hallé. A recent highlight was performing lead trumpet on a concert with Daniel Barenboim and the Berlin Staatskapelle Orkestra as part of an all star new year concert in Berlin with Till Brönner.
Doors 1:45pm – Show starts at 2:00pm
Democracy Through Improvisation : Feral Choristers, New Technology and Playfulness.
This year GIO brings one of the world’s foremost improvising singers, Phil Minton to collaborate in the creation of a unique incarnation of his joyous and jubilant feral choir. GIO’s Emma Roche and Dr Mauro Dragonefrom the Edinburgh Centre for Robotics will premiere a thrilling new composition where the orchestra’s physical journeys through the real world combine with their musical journeys through an imagined one. Una MacGlone will also curate a new piece addressing the concepts of democracy and inclusion that challenges conventional notions of creativity with intricate and playful improvisations.
Doors 7:45pm – Show starts at 8:00pm
LOS ANGELES TIMES “…a superb example of state-of-the-art, imaginative, virtually beyond-definition singing.”
THE TIMES (ALYN SHIPTON) “Right now, she is at the peak of her form… there is no jazz singer in the country who can touch her.”
JAZZWISE MAGAZINE (PETER VACHER) “Winstone believes in taking risks and eschewing the conventional path…a display of musical intelligence at its best.”
Since emerging on the London jazz scene in 1966 with an engagement at Ronnie Scott’ s Club opposite Roland Kirk, Norma Winstone has worked with many of the innovators on the British and European scene. Her unique voice could be said to define an entire era of British and European Jazz, from reinventions of The Great American Songbook to more abstract excursions into vocal timbre. She recorded eight albums for ECM records with the group Azimuth, with John Taylor and Kenny Wheeler. Her own album for ECM, “Somewhere Called Home” has become one of the classic vocal albums of all time. Her European group is a trio featuring Italian pianist Glauco Venier and German saxophonist/bass clarinettist Klaus Gesing. Their first recording for ECM, ‘ Distances’ was nominated for a Grammy in 2008.She is a highly gifted lyricist and has written words for many compositions by Steve Swallow, Kenny Wheeler , Fred Hersch , Jimmy Rowles and Ralph Towner and was awarded an MBE in the Queen’ s Birthday Honours List for services to music and n the Jazz Ahead Prize for her contribution to European jazz.
THE GUARDIAN (JOHN FORDHAM) “A formidable UK jazz presence rising to her full height.”“Iles is one of the most refreshing figures to have emerged in the UK scene in recent times, with a liquid sound and supple, obliquely resolved phrasing as an improviser”. “Formidably creative….
THE OBSERVER (DAVE GELLY) ‘ Nikki Iles is a pianist of extraordinary imagination who thrives on fugitive melodies”
THE GUARDIAN (JOHN FORDHAM) ‘ Iles displayed the rhythmic surprises, shape shifting phrases, playful dialogue with a mix of ruggedness and reflection that make her comparable with the great John Taylor.’
As a founder member of the hugely innovative Creative Jazz Orchestra in the early 90s, Nikki Iles came to prominence working with musicians such as Anthony Braxton, Vince Mendoza, Mark Anthony Turnage, Kenny Wheeler and Mike Gibbs. Although well known as a pianist, composition still remains a major part of her musical life. The breadth of Nikki’ s artistic vision has led her to disregard the arbitrary boundaries of the jazz scene and most notably, commissions have included works for the London Sinfonietta, Tim Garland’s Underground Band and Renga a small group from the London Philharmonic Orchestra. As a player Nikki remains much in demand. Recent work has included working with Julian Arguelles, Joe Locke, The Kenny Wheeler Big Band, Stan Sulzmann, Christine Jenson, Tony Coe and Iain Ballamy. She has made many recordings and most recently “Hush” a trio recording in New York with Americans, Rufus Reid and Jeff Williams, “Mirrors” and with Kenny Wheeler and “Westerly “with her own group, the Printmakers with Norma Winstone.
THE TIMES “….the most innovative and elegant contemporary jazz on the British scene”.
ALL ABOUT JAZZ (JOHN KELMAN) “….were Lockheart living in New York, he’ d likely to be a part of the circle that includes David Binney, Chris Potter and Scott Colley. That’ s recommendation enough for jazz fans outside the UK to check out a player as contemporary and significant as any of the American counterparts.”
MOJO MAGAZINE “… with a huge stylistic and emotional range, Lockheart’ s music is contemporary and compelling.”
Lockheart initially came to prominence in the mid 1980s with the influential and radical big band Loose Tubes. On the band’ s demise, the subsequent formation of the co-led Perfect Houseplants in 1992 saw the emergence of one of Mark’s most important projects and the band released six albums collaborating with the Orlando Consort, baroque violinist Andrew Manze, and recorder virtuoso Pamela Thorby. In the mid-nineties Mark toured and recorded with Django Bates’ Delightful Precipice, and also recording withartists as diverse as, June Tabor, Jah Wobble, Robert Wyatt, Prefab Sprout, Anja Garbarek and Radiohead. In 2003 Mark joined Polar Bear and toured throughout Europe and recorded with the group, including the Mercury nominated ‘ Held On The Tips Of Fingers’ . He worked many times as featured soloist with composer Mark Anthony Turnage and in 2010 saw the release of ‘ Days Like These’ recorded with the NDR Big Band. In April 2010 he won ‘ jazz musician of the year at the Parliamentary Jazz Awards and many awards followed, notably for his highly acclaimed CD, “Ellington in Anticipation”. Mark’s latest group is Malija with pianist Liam Noble and Jasper Holby.
Glasgow Jazz Festival in association with The Hug & Pint.
In this solo acoustic setting, Stuart (of The Cinematic Orchestra) uses three different acoustic guitars to re-imagine and re-sculpt some well-known jazz standards into fresh shapes, as well as playing some of his own original compositions. Stuart admits to influences from Pat Metheny to Bill Frisell, Bon Iver to Jerry Douglas and Gerald Finzi to Kelly Joe Phelps. His use of loops, soundscapes and tunings evokes a combination of chilled-out bliss and sublimated yearning, creating music that is a balm for the soul. Best known as the guitarist for Cinematic Orchestra, Stuart has toured worldwide with the band and played on and contributed to the writing of the albums, Ma Fleur, Live at the Royal Albert Hall and the awardwinning Disney soundtrack, The Crimson Wing. Stuart’s latest project, The Breath, released its debut album, Carry Your Kin, on Peter Gabriel’s Real World Record label in July 2016. Stuart has also released four solo albums, written commissions for Arts Council England, The British Council and for UK saxophonist, John Surman, as part of the Manchester Jazz Festival. As well as John Surman, Stuart has performed and recorded with some of the most prominent jazz artists of today, including American drummerAri Hoenig, Kenny Wheeler, Mike Gibbs, Gwilym Simcock, Tim Garland, French drummer Laurent Robin, French pianist Laurent De Wilde and Austrian hang drum player and Bjork percussionist Manu Delago.Stuart is also Principal Study Tutor in guitar at the Royal Northern College Of Music and Leeds College of Music. In addition to his busy performance and teaching schedules, Stuart is currently studying for a PhD in Composition at the University of Hull.
Gregory Porter: Don’t Forget Your Music
Screening followed by a Q&A with producer Oonagh McDonnell, hosted by The Herald’s Keith Bruce.
Synopsis: Directed by former musician and accomplished photographer Alfred George Bailey this feature film was shot over four years and spans the life and career of the breakthrough star. New interviews and archive footage chart Gregory’s incredible journey from humble beginnings in Bakersfield, California, to stage, studio and beyond, with his remarkable story underpinned by exclusive access during recording of the new Grammy winning, TAKE ME TO THE ALLEY – Best Jazz Vocal Album. The film features contributions from Gregory Porter’s brother Lloyd Porter and sister Lawanda, musical luminaries including Don Was, Hubert Laws, Van Morrison, Jools Holland, Gilles Peterson, Jamie Cullum, Jana Herzen and many more – as well as an account in Gregory Porter’s own words. It is an intimate portrait of an incomparable talent that explores some of the trials that Porter has encountered in his life: the absence of his father growing up and how jazz music filled the void, racial hostility in his hometown, and his triumphant journey to musical success. The film touches on universal themes of fulfilling one’s promise, the hardest and most important lessons gleaned from life, and how success can come calling for you at any time. Above all it speaks of the redemptive, all-conquering power of a mother’s love – the inspiration that would ultimately lead him back on the path to his destiny.
Celebrating 100 years of Thelonious Monk
For Monk’s centenary in 2017, Thelonious (Martin Speake, Hans Koller, Calum Gourlay and James Maddren) will have completed their special mission of knowing the entire Monk songbook. The band started a monthly residency at London’s Vortex in January 2015, dedicated to playing Monk songs exclusively, and has since learned and performed over 50 of his tunes. In addition to the amazing compositions and his beautiful playing, the band take great inspiration from Monk’s legendary advice to Steve Lacy, from 1960:
LET’S LIFT THE BAND STAND!!
A NOTE CAN BE SMALL AS A PIN OR AS BIG AS THE WORLD, IT DEPENDS ON YOUR IMAGINATION.
DON’T PLAY EVERYTHING (OR EVERY TIME).
LET SOME THINGS GO BY, SOME MUSIC JUST IMAGINED.
WHAT YOU DON’T PLAY CAN BE MORE IMPORTANT THAT WHAT YOU DO.
STOP PLAYING ALL THOSE WEIRD NOTES, PLAY THE MELODY!
WHEN YOU’RE SWINGING, SWING SOME MORE!
Doors 2:00pm – Show starts at 2:30pm
Led by award winning vocalist (Best Vocalist -Scottish Jazz Awards 2014) Ali and that Bedlam Swing are a wildly fun and energetic New Orleans Blues, Gospel and Swing band specializing in performing songs associated with the great Ma Rainey, Emma Barrett, Memphis Minnie and Louis Armstrong. Come and be transported to the underground prohibition era with Ali’s ‘gorgeously character-full and distinctive voice (Heartoftheart) and a stunning 5 piece band of outrageous musicality.
Covering every emotion from the sweet sentimental to the downright dark and sinister, the performance will debut songs from upcoming project ‘The Preaching Divas’ – a thoroughly researched show highlighting the strong and passionate first ladies of Jazz and Blues, encompassing energizing gospel and darker sultry blues.
With Ali’s powerful conversant vocal style and ‘vivacious stage presence’ (Scotsman) a wild joie de vivre celebration of fun music is guaranteed!
“I can think of no other young singer of Scottish Jazz who can deliver this kind of material with such authenticity and so swingingly as Alison – hence her award.”- Stephen Duffy – BBC Jazzhouse
Until 2am in the Basura Blanca Basement
Show starts at 7:30pm
Glasgow International Jazz Festival in association with Hands Up For Trad will be hosting the 5th Scottish Jazz Awards during the closing evening of the 31st Festival on Sunday 25th June 2017. Following an absence of 4 years, the Awards are being revived with an aim to celebrate Scotland’s vibrant Jazz music scene and to support the acts and promote their work.
A nominating panel comprised of press, media and promoters from across the Scottish Jazz music scene were chosen to select the shortlist for each of the 5 awards. You can decide the winner by voting for your favourite in each of the 5 categories. The winners will be announced at the Awards ceremony in City of Music Studio at Glasgow Royal Concert Hall.
In association with Regular Music.
Plus support from Dave Arcari.
North Mississippi Allstars are back with PRAYER FOR PEACE and couldn’t we all use one of those right about now? Founded in 1996 by brothers Luther (guitar and vocals) and Cody Dickinson (drums, piano, synth bass, programming and vocals), the now venerable band are entering their second decade with what is unquestionably the most vital album of their brilliant career. Released by Sony Legacy, PRAYER FOR PEACE sees North Mississippi Allstars continuing to think globally following 2013’s Earth-shaking WORLD BOOGIE IS COMING. That album, the band’s seventh studio recording, proved the planetary sensation its title promised, with The Guardian simply declaring it the North Mississippi Allstars’“best yet.” Now North Mississippi Allstars weave their bred-to-the-bone musical sensibility with a potent message of positivity, inclusion, family, and hope. As ever, songs like the powerhouse title track and “You Got To Move”– the latter featuring accompaniment from Hill Country Blues guitar hero Kenny Brown and award-winning singer/bassist Danielle Nicole – pay homage to the band’s long lineage of musical heroes, celebrating the blues’ extraordinary legacy while reshaping and pushing it into contemporary relevance with fatback funk, slippery soul, and pure unadulterated rock ‘n’roll.
The majority of PRAYER FOR PEACE was recorded at Memphis’ famed Royal Studios with the great Boo Mitchell behind the board. The hard-touring band also recorded as they traveled the country, lighting up studios in St. Louis, Kansas City, New Orleans, Brooklyn, Austin, and of course, their legendary father Jim Dickinson’s Zebra Ranch in the Allstars’ own Hernando, MS. A number of old friends join the congregation, among them bassist Oteil Burbridge (Allman Brothers Band, Dead & Company), Graeme Lesh (Midnight North, The Terrapin Family Band), vocalist Sharisse Norman, bassist Dominic Davis (Jack White), and singer/fife playerShardé Thomas, daughter of Mississippi blues giant Otha Turner. Simultaneously master curators, expert revivalists and forward-thinking visionaries, the Dickinson brothers have crafted their most daringly creative and provocatively topical collection to date. PRAYER FOR PEACE stands tall as yet another milestone marking North Mississippi Allstars own unique place in the American musical tradition.
Celebrating the abundant talent and diversity of female improvisers, Bitches Brew presents four outstanding bands with women at the helm…
MAUD THE MOTH
Maud the Moth was founded as the solo project of the singer and pianist Amaya López-C. Hailing from Madrid, and cycling through various line-ups, she now partners up with Paúl González on drums to expand its heartfelt musical universe, which draws on a wide-ranging musical background including jazz, classical, avant garde, soul and even some elements of metal.
Rachael Cohen, a London-based alto saxophonist and composer, is one of the jazz worlds brightest stars. Her playing style and skills as a composer and improviser have gained her a great deal of attention in the UK and beyond. London Jazz notes: “….a considerable compositional and instrumental talent”
Her critically-acclaimed debut album ‘Halftime’ (on Michael Janisch’s Whirlwind Recordings) catapulted Cohen’s reputation to one of the premier new voices of her generation in the UK’s jazz and improvised music scene.
Alya Al-Sultani is a singer, composer and producer. Her latest project is Collective X, a collective of musicians, producers, artists and poets. Her music for this collective aims to respond to the world it is experienced, particularly through the lens of minority experience and oppression. All of the music for the first album, released in October this year, was written in 24 hours after the EU referendum result was announced. The music is not a response to ‘Brexit’ but to the loss of reason, rise of racism and xenophobia and scapegoating of immigrants in the lead up to the referendum.
Collective X has almost 20 members. The members performing will be Alya Al-Sultani (voice), Cleveland Watkiss (voice), Mark Sanders (drums), Jay Darwish (bass), Dave Ital (guitar), Pat Thomas (keys and electronics) and Robert Menzel (tenor sax).
Like a trip on an ocean liner manned by Terry Gilliam himself, Kikazaru plunges fearlessly into the depths of their collective knowledge, with tunes emerging from the free improvised mayhem before disintegrating again in an endless search for beauty and chaos. Lucy Forde (flute), Emma Smith (double bass), River of Slime (sampler/loops/effects), Graeme Stephen (guitar/ loops/effects), and Davide L Rinaldi (drums).
Warren McIntyre, singer in the Starry Skies, brings a new musical project to Cottiers Theatre as part of the Glasgow Jazz Festival. The evening will feature a selection of some of the best musicians in Scotland including Adam Scott, Heather Phillips, Jamie Houston, Jen Lunan McKee and Sophie Pragnell. This night at Cottiers Theatre will feature a set of new songs written specifically for double bass, piano, guitars and a string section and is not to be missed. Warren performed a celebration to Nina Simone as part of the 2015 Jazz Festival at Drygate which sold out quickly, as did their previous show at the Glasgow Royal Concert Hall.
Special Guests on the night will be The Berrie Big Band.