Given the limitless ocean of music in which the world is currently swimming, or rather drowning, it makes sense for any artist who doesn't want to sink into anonymity to keep afloat with regular new product.
Festival directors often have to unhitch hitches right in the middle of their event.
While Elephant9’s recent studio sets might’ve inaugurated amassing embroideries of moods and motions, last night the troupe opted to snub the subtleties for keen fusion assaults.
When taking an evening to see a true legend of the 1960s and 70s, it can be quite a buzz-kill to enter the hyper-modernised complex of The O2, even on an atmospheric fog-ridden November evening.
It had been forty years since the legendary Jim Mullen last provided his unique stylings on the guitar for Brian Auger’s Oblivion Express.
Sheryl Bailey, one of New York’s foremost guitarists and now a frequent visitor on the UK’s jazz circuit, finished her most recent tour here in London last Saturday at the Bull’s Head, Barnes.
Austria’s place in the jazz firmament has been well established by its native musicians (notables such as Joe Zawinul, the Muthspiel brothers and the celebrated Vienna Art Orchestra) but also by the quality of its promoters – think of Saalfelden Festival, Vienna’s Porgy and Bess Club and Salzburg’s Jazz In The City.
Last time Jazzwise took an evening to see Bex Burch’s out-of-the-ordinary quintet was on a lively Saturday night at Dalston’s renowned live music oriented dance club Passing Clouds.
There is a significant coterie of jazz fans that come away disappointed if a show labelled as jazz doesn’t swing.
Three nights in to his five-night stay at Pizza Express, on his first UK visit for years, trumpeter Leroy Jones looked out on his house-full audience, and reflected that numbers thus far would probably ensure him a return booking and smiled.
