The Grip grab The Vortex with free funk and spiritual jazz
- Monday, September 8, 2014
There is no definitive jazz line up.
There is no definitive jazz line up.
Bassist Dave Green’s walking bass in thumb position cut scintillatingly through Scott Hamilton’s Ben Webster-style tenor saxophone during the head of chirpy opener, ‘I Just Found Out About Love’ by Nat King Cole, drawing whistles from the crowded floor.
Beloved Detroit-born jazz pianist and educator Barry Harris, who has worked with such luminaries as Coleman Hawkins and Miles Davis, was flanked by clapping as he settled snugly onto the piano stool from which location for over 80 years he’s worked legendary bebop-shaped enchantment with his huge nimble-fingered hands, and imparted musical insights to his legions of disciples worldwide.
Coventry’s Belgrade Theatre will present the UK premiere of playwright Peter Arnott’s jazz-inspired WII drama, Propaganda Swing, from 13 to 27 September.
The temperature may be creeping up and the tourists thronging the streets, but jazz is continuing to bubble in Bath.
On stage, man and machine lock in fractured harmony.
Passers by on Battersea High Street on a warm summer evening, hearing the sweet energy of a guitar and a violin in full flight on a warm summer evening, stopped to listen as Fapy Lafertin’s guitar and Hannah Bienert’s violin entwined, parted, teased and cajoled before bringing Lapertin’s Cinzano – an exhilarating coupling of fast jazz waltz and czardas - to a soaring conclusion.
Anticipation was biting the diners and drinkers circling the stage, and up there waiting for Dave Holland and his band to plug in and find their positions under the heavy spots, the club's compare was informing the floor that the double bassist's debut at Ronnie's was in fact with Miles Davis in 1969, the finer details of which, he explained, "Dave would probably go through later.
The Danish word ‘hugeligt’, which loosely translates as cosy, is a perfect way to describe the small but perfectly formed city of Aarhus.
With the proliferation of jazz festivals in recent times you would be less likely to raise an eyebrow if the programme from one of the newer promoters were to heavily featured non-jazz acts.