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Graham Collier - Big It Up

Composer Graham Collier turns 70 this year. One of the leading UK jazz composers of his generation, his work has recently been rediscovered by younger musicians and audiences with a taste for his sophisticated arrangements. Duncan Heining talks to Collier, now resident in Spain, about his career and plans for his special birthday year.

It was back in 1961 that Graham Collier arrived in Boston with just his double bass and a change or two of clothes in tow. Graham, now one of our foremost jazz composers, was the first British student to win a scholarship to the prestigious Berklee School of Music. He was 24 years old and not long out of the army.

Born in Tyneside but brought up in Luton, Graham joined up as a band boy at 16, “not to get away from home but from Luton, which was a dreadful place,” he explains. He’d travelled with the army to Hong Kong and Germany and was known to have a liking and talent for jazz and dance band music. And so, his colleagues encouraged him to go in for a Downbeat competition for a scholarship to Berklee. 

It was an opportunity that Graham grabbed with both hands. Now, as he turns 70 this month, he looks over a career marked both by achievement and the inevitable struggles of the jazz world. Over those decades that followed, he’s been a musician, a composer, an author and an educator. And it all really began at Berklee.

“So, I entered the competition and got a very small scholarship but because I’d never lived in London, it was a way of going somewhere to learn, rather than go to London to work as a musician and scuffle and starve. So, I went to Boston and starved and scuffled, while I was learning.”

It was a golden age for Berklee. Mike Gibbs, Gary Burton, Sadao Watanabe, Heinz Bigler and Gabor Szabo were all there at that time, as Graham remembers. “We were the cream of it in one sense. We got on the recording band and were recognised as having the skills. We all had to work hard – except Gary Burton. [laughing] Gary was so big-headed then. He was just 17 and already a great vibes player.”

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Graham Collier - Big It Up
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Jack DeJohnette - Rhythm Symbol

Jack DeJohnette - Rhythm SymbolMaster drummer Jack DeJohnette is part of a continuum in jazz that stretches back to the 1960s when the Chicagoan was a member of Charles Lloyd’s seminal quartet and when he made his debut as a leader. The line continued the next decade via Miles Davis and the groundbreaking album Bitches Brew, and then into the 80s and on with his own influential group Special Edition. With the foundation of the Keith Jarrett Standards Trio, which recently celebrated its 25th anniversary, a new chapter in both DeJohnette and Jarrett’s career began, the birth of a group that would revitalise the trio format and then influence a myriad of jazz trios keen to break the mould just as DeJohnette and Jarrett had done themselves.

Christine Tobin and Phil Robson - Coming of age

Christine Tobin and Phil Robson - Coming of ageDaring to be different, singer Christine Tobin is set to delve still deeper into the consciousness of her fans and newcomers alike if the arrival of her brand new album Secret Life of a Girl is anything to go by. An emotional and personal stirring, one step beyond her previous album, the dark Romance and Revolution, Tobin on Secret Life inhabits the world of the young characters in the songs, representing different stages of an untold story, an incipient self awareness and maturity. The album is released at a time when her partner and regular musical colleague, guitarist Phil Robson, releases Six Strings and The Beat, a Bartók-infused strings album flavoured by post-modern jazz and African music alike. Stuart Nicholson talks to the pair about the story behind their albums and their quest to follow the road less travelled while long time fan, Lionel Shriver, author of We Need To Talk About Kevin, describes her reactions to that voice.

Jason Moran - Sphere of influence

Jason Moran - Sphere of influenceMisunderstood in his own lifetime, but in time elevated to the pantheon of composers that make him as relevant today as he was in the heyday of bebop, the totemic presence and music of Thelonious Monk forms the bedrock of a new monumental work by Jason Moran. The pianist, who tours the UK this month, with an Anglo-US band, has taken Monk’s At Town Hall and reimagined it for the jazz of today. Kevin Le Gendre talks to Moran about how he got inside the mind of the one and only Monk.
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