If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
I’d forgotten what a marvelous piece of work the late Johnny Richards’ Cuban Fire suite is, and am grateful to Bobby Lamb and the intrepid young musicians at Trinity College for such an emphatic reminder. Lamb, an Irish–born trombonist who once played in the Stan Kenton Orchestra and remains a great admirer of Kenton’s music, chose to honor his former employer by breathing new life into Richards’ seven–part suite based on such traditional Cuban rhythms as the bolero, abierta, guajira, guaracha and ñañigo. The Trinity band offers an admirable interpretation of the score, masterfully supported by three of Great Britain’s leading Jazz soloists, alto saxophonist Peter King, trombonist Mark Nightingale and trumpeter Gerard Presencer. While Kenton is certainly a tough act to follow, Lamb’s undergrads give it their best shot, and there are passages, such as on “Quien Sabe” or “La Suerte de los Tontos,” that sound, at least to me, even better than Kenton’s original recording. That could, of course, be the result of a rapidly declining memory. There’s no doubt, however, about the fact that King, Nightingale and Presencer are about as good as any soloists you’re likely to hear, or that the Trinity ensemble never sounds the least bit shaky or undernourished, its core group augmented by five French horns and half a dozen percussionists. As the suite itself runs for less than forty–two minutes, Lamb has appended two “bonus“ tracks, Juan Tizol’s well–traveled “Caravan,” on which Presencer and Nightingale solo, and his own composition, “Little One,” a bracing showcase for King’s incisive alto. Whether or not you’ve heard (or own a copy of) Kenton’s recording of Cuban Fire, you should hearken to Trinity’s exciting new version. You won’t be disappointed.
Track Listing: Fuego Cubano; El Congo Valiente; Recuerdos; Quien Sabe; La Guera Baila; La Suerte de Los Tontos; Tres Corazones; Caravan; Little One (52:38).
Personnel: Bobby Lamb, director; Rupert Widdows, Melanie van Aurich, alto sax; Fiona McGregor, Victoria Green, tenor sax; Claire McInerney, baritone sax; Gavin Whitlock, bass sax; Steve Jones, Darren Wiles, Dave Peers, Joe Auckland, Nick Etwell, Ben Cummings, Ian Taylor, Mike O
I love jazz because it takes my mind away and is very relaxing.
I was first exposed to jazz by my older brother every morning while eating breakfast before school he would play Hiroshima One which I hated but after he moved away to college and I moved to Miami I fell in love with jazz music.