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Saturday at Titley Jazz, 26/07/2014.

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by Ian Mann

July 31, 2014

The second day of the festival with performances from groups led by Clark Tracey, Jim Mullen, Art Themen and Don Weller plus a closing set from the Peter King / Mornington Lockett Quintet.

Photograph of Art Themen sourced from http://www.titleyjazz.com


SATURDAY AT TITLEY JAZZ, 26/07/2014.


The sun shone for the second day of the festival, the weather and the glorious backdrop of the Anglo-Welsh countryside combining to present the perfect setting for a day of music from some of Titley’s favourite sons.

Having set the scene with my Friday coverage I propose to plunge straight into the music commencing with;

CLARK TRACEY FESTIVAL QUINTET

Drummer, composer and band leader Clark Tracey has appeared at every edition of the festival, either leading his own groups or performing as the drummer of choice in the various bands led by his late father, the pianist and composer Stan Tracey.

I’ve always been a great admirer of Clark’s work as a solo artist, his albums are consistently interesting and in recent years his groups have acted as a kind of “British Jazz Messengers” with Clark in the Art Blakey role. Clark’s bands have acted as the “finishing school” for such exciting young talents as pianists Zoe Rahman and Kit Downes, vibraphonist Lewis Wright and many others. I recently saw (and reviewed) the current crop’s excellent performance at The Hive Arts Centre in Shrewsbury, this being the line up appearing on Clark’s latest quintet album “Meantime” (Tentoten Records, 2014).

However today saw Clark performing with a more experienced set of musicians, all of them Titley regulars and all of them associated with bands led by his father, Stan. Joining Clark were trumpeter Steve Waterman, saxophonist Simon Allen, pianist Dave Newton and bassist Dave Green.
In the absence of David Masters the quintet were introduced by saxophonist Art Themen, another alumnus of Stan’s groups who paid tribute to Stan and also squeezed in a plug for the Herts Jazz Festival, the event co-ordinated by Clark in Welwyn Garden City every September (see http://www.hertsjazzfestival.co.uk for details).

In 2008 Clark recorded the quartet album “Given Time”, a collection of modern jazz “standards” written by British born jazz composers. It was to be the repertoire of that album that formed the backbone of today’s set commencing with “C.U.C.B.”, saxophonist Bobby Wellins’ tribute to trumpeter Clifford Brown. This attention grabbing, hard grooving piece featured solos from the powerful and authoritative Simon Allen on tenor sax and the effortlessly fluent Steve Waterman on trumpet, the horn men matched in terms of excellence by Newton at the piano and Green on the bass as Clark provided a strong and swinging hand on the tiller.

Ray Noble’s “The Very Thought Of You” represented a departure from the album repertoire but was no less fine, the medium fast tempo providing the vehicle for intelligent solos from Allen on alto sax, Waterman on flugelhorn and Newton at the piano. The versatile Allen is one of very few saxophonists to double on tenor and alto and, even more unusually, achieve an equally high standard of proficiency on both. A remarkable musician.

The title track of Clark’s album was written by pianist Dave Newton who began his own piece with a sumptuously lyrical passage of solo piano. This beautiful ballad was performed in piano trio mode as the horn men took a breather, Clark showing a more sensitive side to his playing with some delicate, finely judged brush work.

The first set ended with the quintet romping through another Ray Noble tune, the eternally popular “Cherokee”. The arrangement began with Clark engaging in a series of scintillating bebop fuelled duets, firstly with Allen on alto and, later, Waterman on trumpet. The three musicians then enjoyed a further series of fiery exchanges before the familiar theme eventually kicked in and the whole quintet made a quick sprint for the finish.

The second set began with a non album track, an arrangement of George Shearing’s “Lullaby Of Birdland” inspired by the version by Bud Powell. With Clark and Dave Green providing an easy swing solos came Waterman on trumpet, Newton at the piano and Allen on tenor, his saxophone accompanied only by the walking bass of Green who eventually took over with a wonderfully dexterous and melodic solo.

The Leslie Bricusse tune “Who Can I Turn To?” is best known for the vocal version featuring the singing and lyrics of Anthony Newley.  Today’s instrumental version featured Allen on alto, Waterman on flugel and Newton at the piano.

Victor Feldman’s bebop classic “Seven Steps To Heaven” was famously recorded by Miles Davis and the quintet had great fun with the tricky theme before embarking on a series of scintillating solos from Waterman on trumpet, Allen on increasingly impassioned alto, Newton at the piano and finally Clark at the drums, the leader relishing the opportunity to cut loose with a concise but imposing solo.

Charlie Chaplin’s enduring “Smile” closed an engaging performance with the immaculate Green picking out the familiar melody on the bass prior to solos from Newton on piano, Allen on tenor and Waterman on trumpet. The arrangement ended as it began with Green playing the melody on double bass.

Clark’s sessions as a leader at Titley have always delivered intriguing tune selections allied to some great playing. You always know that Clark will deliver, consistency is very much his hallmark, and today was no exception. He usually performs a number of gigs as a sideman at the festival but today had to dash back to London for an evening engagement. I’m sure many audience members would have liked to have heard more from him in other contexts but he still left his mark on the festival with this well judged and immaculately performed set whilst ensuring that the Tracey family presence continued to be represented at Titley. 


JIM MULLEN ORGAN TRIO PLUS STAN SULZMANN

Guitarist Jim Mullen led an “all star” band of Titley regulars at the 2012 festival, their set of jazz and bebop standards being one of the highlights of that weekend.  2014 saw Mullen making a welcome return for two performances, the first featuring one of his regular working groups the Organ Trio with Mike Gorman on organ and Matt Skelton at the drums. The group’s acclaimed 2007 album “Smokescreen” included contributions from guest saxophonist Stan Sulzmann and happily Stan was present today at Titley to add his own brand of magic to the proceedings with the programme incorporating some of the “Smokescreen” material.

The first set began with a version of “Nature Boy” with solos from Sulzmann on tenor sax, Mullen on guitar and the effervescent Skelton at the drums. Gorman was experiencing some technical difficulties with his keyboard but thankfully was able to sort things out quickly thereby allowing him to take the first solo on “The Duke”, Dave Brubeck’s homage to Duke Ellington. Gorman was followed in turn by Sulzmann and Mullen before Skelton enjoyed a series of colourful drum breaks as he traded choruses with the other instrumentalists.

Mullen is something of a film buff and the genial Glaswegian introduced the ballad “Stairway To The Stars” by recalling its role in the movie “Some Like It Hot” as well as informing us that it was once a hit for Tommy Dorsey. There were pithy solos here from Sulzmann, Mullen and Gorman above the subtle prompting of Skelton’s brushed drums.

The first set concluded with the title track from “Smokescreen”, the piece written by organist Mike Gorman. Influenced by the great Jimmy Smith this hard grooving piece showed Gorman’s skills on his two manual keyboard to their best advantage with further solos coming from Mullen and Sulzmann and with Skelton enjoying a further series of sparky drum breaks. I’ve always enjoyed Mullen’s work in this instrumental format and my enthusiasm was clearly shared by the rest of the knowledgeable Titley Jazz audience.

Set two commenced with “When I Fall In Love”, a selection from the second Organ Trio plus Sulzmann album “Make Believe"released in 2009. Sulzmann led off the solos on tenor before handing over to Mullen, the man with the “Magic Thumb”. A playful personality Mullen has a fondness for stuffing his solos full of quotes, I spotted “Old Man River”  but other examples cropped up throughout the course of the afternoon. Gorman and Skelton were subsequently featured too.

Billy Strayhorn’s enduring “Lush Life” was a tune that was played several times over the course of the weekend in a variety of contexts. Here it began with a delightful tenor sax/guitar duet before gradually gaining momentum to embrace solos from Sulzmann, Mullen and Gorman.

Mullen acknowledged the influence of Billie Holiday on his interpretation of “You’ve Changed”, a true ballad performance embracing solos from Mullen, Sulzmann and Gorman plus a stunning solo guitar coda eventually reinforced by shimmering cymbals and swelling Hammond.

The quartet finished with an energetic take on Freddie Hubbard’s blues “Birdlike”, a homage to Charlie Parker with an appropriately tricky bebop style theme. Introduced by a duo of organ and drums the theme was eventually picked out in unison by tenor sax and guitar before the group embarked on a series of expansive but engaging solos with Gorman going first followed by Sulzmann and Mullen, the latter’s solo culminating in a duet with Skelton followed by a concluding drum solo.

Mullen has proved to be a very popular addition to the Titley roster and these two sets were very well received. Also well done to David Masters for bringing a fresh format and a new instrument to Titley, this was the first time the festival had featured an organist. The versatile Gorman was to return later on to demonstrate his pianistic skills alongside saxophonists Peter King and Mornington Lockett. Meanwhile Mullen was to feature again in the Sunday morning “duo slot” alongside bassist Mick Hutton. 


ART THEMEN’S NEW DIRECTIONS

Saxophonist Art Themen has appeared many times at Titley in a variety of different line ups. On record he is probably best known as an alumnus of numerous Stan Tracey groups. I think I’m correct in stating that today was the first time Themen had led a band at Titley in his own right (as opposed to co-leadership sessions) and the band name New Directions offered the suggestion of something radically different from the festival’s regular standards and bebop fare. The reality was rather less revolutionary with the material still largely drawn from the classic jazz and bebop repertoire.

What was different was Themen’s choice of guest soloist, the young trumpeter and composer Laura Jurd, a definite rising star and with the exception of various NYJO members almost certainly the youngest musician to ever appear at Titley. Today we saw a less experimental side of Jurd than that represented by her own groups or by the London based Chaos Collective but it did reveal what a fine “straight ahead” trumpet player she can be, winning her many new friends in the process.

Appleby Jazz Festival founder Neil Ferber found himself back in the limelight and handling the announcements as Themen and co. kicked off their set with “Nica’s Dream”, a dedication to the recently deceased Horace Silver (1928-2014). Joining Themen and Jurd were pianist John Donaldson, bassist Mick Hutton and drummer Steve Brown. The latter’s use of sticks on rims provided the Latin seasoning to flavour tasty solos from Themen on tenor, Jurd on trumpet and Donaldson at the piano with Brown also providing a series of spicy drum breaks as he traded licks with the soloists.

Bassist Arnie Somogyi’s “Joe’s Blow” provided a welcome change to the standards repertoire with a piece originally performed as part of a commission for Southport Jazz Festival. Described by Themen as a “blues waltz” the piece included solos from Jurd on trumpet, Donaldson at the piano , Themen on typically distinctive and idiosyncratic soprano, and finally Hutton at the bass.

Thelonious Monk’s notoriously tricky “Four In One” proved something of a challenge to the musicians but it was one that they negotiated with aplomb as Jurd demonstrated her formidable sight reading skills as well as contributing a typically fluent solo. “Look at all those dots!” exclaimed the self taught Themen, “it’s like trying to read fly shit!”. Meanwhile Donaldson’s solo incorporated tantalising flashes of other Monk classics as Themen, this time on tenor, plus Hutton and Brown were also featured.   

The ballad “My Funny Valentine” was played in quartet format as Themen left the stage to allow the focus to centre on his young colleague. Jurd responded with a an impressively mature and lyrical trumpet feature with bassist Hutton also demonstrating his impressive soloing abilities.

Horace Silver’s recent death prompted a number of tributes over the course of the weekend including the quintet’s jaunty and playful rendition of “The Jody Grind” with a grinning Steve Brown providing the rhythmic impetus for engaging solos from Themen, Jurd and Donaldson. Themen’s contribution was particularly attention grabbing as his tenor variously honked, hooted, hollered and shrieked. This was a fun, good natured end to a hugely entertaining first half.

Set two began with another Monk tune, this time described by Themen as being “enigmatic”. Slightly less complicated than its predecessor the piece incorporated solos from Themen on tenor, Jurd on trumpet, Donaldson at the piano and Brown with a series of brushed drum breaks.

Cedar Walton’s “Midnight Waltz” , a blues in three, saw Donaldson leading off the solos followed by the impressively articulate Jurd. Themen had switched to soprano and his duet with Hutton included a series of vocal inflections in a typically idiosyncratic display.

The ballad “You Must Believe In Love” was this set’s quartet item, a tenor feature for Themen that began with a saxophone/piano duet and incorporated further solos for Themen, Donaldson and Hutton.  For all his eccentricities Themen is capable of bringing genuine warmth and emotion to a ballad.

“Trinkle Tinkle” represented another dip into the Thelonious Monk grab bag with features for Jurd, Themen on tenor, Donaldson and Brown. 

Finally we heard a merger of Tadd Dameron’s “Lady Bird” with Benny Golson’s “Half Nelson”, the latter most closely identified with Charlie Parker. Suitably boppish this gave everybody the opportunity to show off their chops with the solo order being Themen (tenor), Jurd, Donaldson, Hutton and Brown. 

Thus ended two hugely entertaining sets with some great music peppered by Themen’s salty wit as an announcer. But it was the newcomer Laura Jurd who probably gained most from this experience as she added a whole new raft of admirers to her growing fan base. Her d?but album “Landing Ground”, which merges jazz and classical elements, is one of the outstanding UK jazz d?buts of recent years. (See review elsewhere on this site).


DON WELLER QUARTET

Tenor sax specialist has been a Titley stalwart despite missing a year due to illness. He’s appeared in many different line ups and in 2012 led his big band at the festival. Today found him in a more intimate setting leading a quartet featuring pianist Dave Newton, bassist Andy Cleyndert and drummer Dave Barry, all bulwarks of the festival.

I’ve always been an admirer of Weller’s writing and this set included a couple of his quirky originals, plus one piece from Dave Newton, among the familiar crop of standards. Weller really likes to stretch out and despite the regulation four songs per set the performance overran, doubtless to the chagrin of the festival organisers .

First up we heard a tightly riffy arrangement of Cole Porter’s “Just One Of Those Things” with extended solos from Weller and Newton plus a series of Barry drum breaks.

Charles Mingus’ “Dizzy Moods” featured similarly lengthy solos from Weller, Cleyndert, and Newton then Weller again (complete with quote from “Surrey With The Fringe On Top”) before a final series of breaks from Barry.

Weller’s tenor sound, a unique mixture of gruffness and tenderness is one of the most distinctive in British jazz. His compositional style is similarly eclectic as typified by the original “Juice” with its solo bass intro plus solos from Weller, Newton and Cleyndert.

The first set closed with Newton’s “Old Blues Rag”, the insistent but catchy and accessible theme providing the framework for a typically rambling Weller solo followed by a show stopping solo piano section with Newton demonstrating his mastery of various piano styles from boogie woogie to ragtime before rounding things off with a thrilling series of exchanges with drummer Barry. Newton has always been a favourite with the Titley crowd and they just loved this. A great end to a very good first half.

Set two began with “You With The Stars In Your Eyes”, a tune that has been played many times at Titley over the years by a variety of musicians. Here it was the vehicle for solos from Weller, Newton and Cleyndert plus a closing series of tenor and drum exchanges.

“You Don’t Know What Love Is” slowed the pace and was effectively this set’s ballad with Barry deploying brushes throughout, even on the final series of drum breaks. Elsewhere we heard from Weller, Newton and Cleyndert but with the leader unable to resist injecting a little humour into the proceedings with a series of quotes.

“Love For Sale” was purveyed in a bustling bebop style embracing considerable harmonic and rhythmic sophistication. Cleyndert and Barry coped with the demands admirably as Weller and Newton stretched out.

Weller’s own “Half Twist” concluded one of the festival’s surprise highlights with features for all four musicians and a series of playful false endings. Don Weller may appear to be an increasingly frail figure off stage but he still plays with authority, fluency and intelligence, qualities enhanced by a very British dry wit that manifests itself in both his speech and his music. The man is a much loved original, long may he continue.


PETER KING / MORNINGTON LOCKETT QUINTET

Titley 2013 saw alto saxophonist Peter King going toe to toe with tenorist Alan Skidmore in an intense John Coltrane inspired set that saw both men driving each other on to new heights. King had promised us something “modal” again this year but this time his sparring partner was Mornington Lockett who had previously appeared at Titley as co-leader of a quintet featuring trumpeter Martin Shaw.

Lockett was always a favourite at Appleby but his busy schedule has prevented regular visits to Titley. King and Lockett achieved similarly combustible levels to those reached a year ago by King and Skidmore. They were aided by the propulsive drumming of Mark Fletcher, the pianistics of Mike Gorman and the always reliable bass playing of Andy Cleyndert.

“This Is New”, a collaboration by Kurt Weill and George Gershwin got things off to an explosive start with the horns of King and Lockett blending seamlessly on the theme before each delivered a boisterous solo lashed on by Fletcher’s energetic drumming. These blistering statements of intent saw Gorman rising to the challenge as he took his place among the pantheon of celebrated Titley pianists. The two horns engaged in a ferocious series of exchanges with Fletcher before an outro that featured them in both unison and counterpoint. The audience were exhausted just listening to it.

King stated the theme of “Alone Together” , followed by Lockett on tenor, the two horns then coming together before diverging again for individual solos, Lockett going first. Gorman and Cleyndert also featured before the close.

Mal Waldron’s modern standard “Star Eyes” was a tenor feature with Lockett’s solo intro embracing harmolodics in an impressive display of tenor technique. Gorman and Cleyndert followed him and the piece was ended by a solo sax cadenza.

King revealed that he and Lockett perform regularly together at London’s 606 Jazz Club where McCoy Tyner’s “Passion Dance” is a particular audience favourite. Tonight’s version began with a passage of solo piano from Gorman followed by another set piece in the form of an alto/drum duet between King and Fletcher. Lockett’s tenor solo was rather more conventional and the performance was crowned by a hard hitting Fletcher drum solo.

It had been intended that the quintet would take a break at this point but because Weller’s performance had overrun they elected to carry on, adjusting their set list accordingly. The horn men left the stage as Gorman took the spotlight in a trio version of “Nancy With The Laughing Face”,  his unaccompanied introduction and subsequent solo followed by Cleyndert’s articulate bass.

King and Lockett returned for a version of Wayne Shorter’s “Footprints” which began with a “totally free” (King’s words) intro before Cleyndert’s bass picked out the familiar melodic motif with incisive solos eventually coming from Lockett, Gorman and King plus a closing drum feature from Fletcher.

King’s solo rendition of Billy Strayhorn’s “Lush Life” has long been a feature of his live performances and remains enduringly popular. The day closed with the quintet’s take on Coltrane’s “Pursuance” from the “Love Supreme” album , the two horns intertwining on the theme and with strong solo statements coming from King, Lockett, Gorman and Fletcher.

King and Lockett are extremely popular figures with the Titley/Appleby audience and this performance was well received by the faithful. For me it was a little too similar to last year’s session with Skidmore and the incessant sax duelling ultimately became a little wearing. Perhaps it was the lateness of the hour after a very long and very hot day as I’d normally be among the first to champion Peter King as a world class soloist. 

Overall the second day of Titley 2014 was a tremendous success with a series of excellent performances from a beguiling mix of old favourites and talented newcomers.

         

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