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PAZ: Variation and Creation: The Story of PAZ
by Tony Poole
Paz was a London-based British fusion collective formed in 1972 by vibraphonist Dick Crouch. Their sound was heavily influenced by Latin music, though not entirely. Crouch worked as a producer for the BBC Transcription Department in West London. He formed the group out of a growing dissatisfaction with the local jazz of the time, and a committed belief that melody should be put back into the repertoire. They were long lived on the club circuit in London and the south-east ...
Continue ReadingBobby Wellins Sextet: Homage To Caledonia
by Jack Kenny
Bobby Wellins said about the composition of “The Culloden Moor Suite:" “It was something that came to me after reading John Prebble's book about the Battle of Culloden and the way he described events leading up to it and the dreadful aftermath... I wanted to capture, not just the terrible sadness that must have resulted from what was a pretty horrific event, but also the sense of expectancy and celebration, even if it turned out to be misplaced, in the ...
Continue ReadingBobby Wellins Quartet: What Was Happening
by Chris May
In 1965 tenor saxophonist Bobby Wellins made an indelible mark on jazz history with his contribution to pianist Stan Tracey's Jazz Suite Inspired By Dylan Thomas's Under Milk Wood (Columbia). The exquisite “Starless And Bible Black" is the most frequently cited track (check the YouTube below) and is indicative of the album's overall beauty. For a while, things looked good for the Glasgow-born, London-based Wellins, but by the end of the decade “health problems" closed down his career until around ...
Continue ReadingTrevor Watts' Original Drum Orchestra: The Art Is In The Rhythm Volume 2
by Chris May
A co-founder of London's pioneering Spontaneous Music Ensemble with drummer John Stevens in the mid 1960s, saxophonist Trevor Watts has straddled an unusually wide spectrum of genres. With SME he explored an area of free jazz which, in deliberate contrast to contemporary American adventurers such as Ornette Coleman or members of the Association for the Advancement of Creative Musicians, wholly rejected melody and rhythm. At the other end of the spectrum Watts has been involved in jazz rock.
Continue ReadingTubby Hayes: No Blues: The Complete Hopbine '65
by Chris May
"Who the fuck are you?" said Tubby Hayes, encountering Ron Mathewson on the bandstand of London's Hopbine club an hour or so before the start of the gig which this album chronicles. “I'm the bassist," said just turned twenty-one year old Mathewson, who had been booked to deputise for the Hopbine's regular bassist that night. “Well, we'll see about that, won't we?" said Hayes. So began a relationship in which Mathewson ...
Continue ReadingTrevor Tomkins' Sextant: For Future Reference
by Chris May
A 2-CD collection of four sessions recorded for BBC Radio between 1980 and 1983, For Future Reference is a snapshot, just one of many snapshots that might be taken, of British jazz in the period immediately before the so-called “jazz boom" of the mid to late 1980s. That boom was marked by an acknowledgement of the dancefloor, the greater visibility of musicians with roots in the African diaspora, and a willingness, even eagerness, by those musicians to publicly affirm the ...
Continue ReadingThe Don Rendell / Ian Carr Quintet: Warm Up
by Chris May
British modern jazz was gaining new confidence in itself in 1965, when Warm Up, subtitled The Complete Live At The Highwayman 1965, was recorded. It needed to be. As Simon Spillett writes in his liner notes, at the time “British jazzmen bravely fought a battle on two fronts, one against the stranglehold of American influence, the other against the Beatles." British jazzwomen, of course, were fighting on three fronts; but we can discuss that another time. A fourth front, fought ...
Continue ReadingKarl Jenkins: Penumbra II
by Chris May
Multi-instrumentalist Sir Karl William Pamp Jenkins CBE (Commander of the Order of the British Empire) is a successful composer of classical, film and TV music. But before he went over to the Dark Side, the then plain old Karl Jenkins was a member of the Rebel Alliance and a pivotal presence in British jazz rock. He was a founding member of the pioneering Nucleus in 1969 and a member of Soft Machine from 1972 until the early 1980s.
Continue ReadingHenry Lowther's Quarternity: Never Never Land
by Chris May
The British trumpeter and composer Henry Lowther, who first made an impact in the 1960s and released the well received album Can't Believe, Won't Believe (Village Life) in 2018, came to jazz via a circuitous route. After playing cornet in a provincial Salvation Army band, he moved to London around 1960 to study violin at the Royal Academy of Music. While a student, he encountered improvised Indian music and albums by Sonny Rollins, discoveries which encouraged him to commit to ...
Continue ReadingJohn Taylor Sextet: Fragment
by Chris May
The not-for-profit Jazz In Britain label is one of the unsung heroes of British jazz. And if it is being sung, apologies, it deserves to be sung louder. While it is fitting that the musicians who make up London's new alternative jazz scene receive a massive shout out, the players who came before them, who paved the way for British jazz's current explosion, tend to get overlooked. Slowly, this is changing, and Jazz In Britain is in ...
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