Friday, March 29, 2013

Soho jazz venues. What are they now?

Linked in to my project on Lost London Jazz Venues, and also a talk that I am about to give on jazz in Soho, I did a walk around the area to try and find out where many of them are. As well as lots of photos, I came back with a terrible cold, even though it was already 26 March (due to the cold weather and wind) I enjoyed also a quick trip for coffee and eclair to fortify me in Maison Bertaux.

100 Club

Original Marquee, under Academy Cinema, Oxford Street


London College of Music, Gt Marlborough Street
(John Surman studied here)

2nd home of Club 11, (Carnaby Street)

London Palladium

The Lagoon, Beak Street

Club on Kingly Street

Soho Pizzeria (recently closed)

Windmill Theatre, Great Windmill Street

Foote's Music Shop, Golden Square

41 Gt Windmill Street (original Club 11)

Archer Street

John Jack ran a club here on Archer Street:

Madame Jojo's/Raymond Revue Bar

Flamingo, Wardour Street
(now a JAZZ shop?)

Or is this the Flamingo?

2is Coffee Bar

Downbeat Club, Old Compton Street:

(for a time, the Soho Jazz Festival was based here)

Skiffle Cellar, Old Compton Street:

Establishment Club
(Peter Cook and Dudley Moore)

An interesting plaque on Gerrard Street:

The Crucible Club ran by John Jack, previously Delta, Falado:

44 Gerrard Street

Flamingo, Wardour Street

Original Flamingo, on corner of Whitcomb Street
Cafe Royal, Regent Street

Gramophone Exchange, Dean Street

Greek Street

Mandrake Club, 4Meard Street:

Bag o'Nails, Kingly Street

I've got several more to add in to this list of the old ones, e.g. Club Afrique, Abalabi, Les Cousins. Also extending outwards to the fringes of Soho, such as Little Theatre or King and Queen in Fitzrovia.
Of course, the existing Ronnie's (but that would be too easy!) and Pizza Express Dean Street. Les Cousins of course, and more.

More help would be appreciated especially ahead of my talk at the end of May.

Saturday, March 23, 2013

What's New On Babel?

Karlheinz Stockhausen Tierkreis by  Bruno Heinen Sextext                     

Tierkreis (1974-75) is a composition by Karlheinz Stockhausen. The composition consists of twelve melodies, each one representing a sign of the zodiac. The album features: James Allsopp (bass clarinet), Fulvio Sigurta (trumpet), Tom Challenger (tenor sax), Andrea Di Biase (bass) and Jon Scott (drums).

Being Human by Human

Human is the new world-class quartet assembled by Irish-born drummer and composer Stephen Davis. For this exciting new project, he’s joined by three of the most creative young artists on the UK left-field jazz and Improv scene: Alexander Hawkins on piano, Alex Bonney on trumpet and Dylan Bates on violin. 

Busk by ACV

With pristine production by Chris Sharkey (genre-busting guitarist with trioVD and Acoustic Ladyland), Busk is the sound of a group coming of age, spreading its wings and preparing to soar. Now not even the sky is the limit. 

Tatterdemalion by Rachel Musson, Mark Sanders and Liam Noble

Rachel Musson plays sax, Mark Sanders is a drummer and Liam Noble is a composer and pianist.

What Do You See When You Close Your Eyes? by Moss Project

Preview here

Moss Project - What Do You See When You Close Your Eyes? from Matt Mead on Vimeo.

Tuesday, March 19, 2013

A message from Dan Messore about this month's line-up
Sunday 24 March 2013

I was fortunate to spend some time at Steve Waterman's place this weekend gone, where we were doing some duo recording. This instalment at Vortex Jazz Club we'll be doing "Destination Unknown" and another of his pieces "Nowhere To Go". I've enjoyed arrangement lessons with Steve whilst at college. He inspired me then and it's a pleasure to enjoy lots of playing with him still. The band will have some new additions this month in the form of Mike Chillingworth and Joe Wright. So, head down this Sunday 3.30 pm.

Much love
Dan x

Tickets £7

Monday, March 11, 2013

The Sex Jam What's Free Improv Got to Do With Sex?

The Sex Jam 
What's Free Improv Got to Do With Sex?

Great sex according to Karen B. K. Chan in her amusing account with a serious message,  is like free improv because it requires collaboration. No-one wants to jam with a bassist who just stands there, or dance with a partner who just stands and stares. Besides, do we not bring both talent and imagination with us when we engage in these 'art' forms? The sex jam implies negotiation in much the same way musicians choose what to play and how to play. Not forgetting a healthy measure of interpretation thrown into the mix. Remember ditching habits leads to innovation and of course... practice makes perfect.


Wednesday, March 06, 2013

5 March 2013
News From The Tower...spread the word

The next instalment of View From The Tower is 24 March 2013 at The Vortex Jazz Club 3.30 PM 

In Dan Messore's words...

This months instalment is very exciting. We have a special guest in the form of trumpet colossus Steve Waterman. Also, aboard for the first time this month are the great musicians Mike Chillingworth and Joe Wright on sop and tenor respectively. As well as the incredible Calum Gourlay on bass. The theme therefore this month will be an exploration of British arrangements and ensemble. We have an arrangement from Steve of one of his tunes, also I'll be visiting Steve to expand on the growing pad and arrangements. I'm very excited to be working with Steve in this format. We recorded my second album together (Lacuna-Talk On The Step available on Babel May 2013) and he was an inspiration then, also a fantastic improviser. Here I'll be working with Steve as an arranger, of which he is at the top the art form, so I look forward to learning and bringing in some of his experience into this month's music. 

Sunday, March 03, 2013

An Encounter Between the French Philosopher Jacques Derrida and American Saxophonist / Composer Ornette Coleman (June 1997)

An Encounter Between the French Philosopher Jacques Derrida and American Saxophonist / Composer Ornette Coleman (June 1997)

The founder of ‘deconstructionism’ speaks to the father of ‘free jazz’ about the role that language plays within their respective professions as philosopher and musician. In this gem of an interview Ornette Coleman and Jacques Derrida chat about the complex relationship between improvisation and composition.

If a piece of music requires a framework with rules and structure then how could it be said to be improvised? Both agree that ‘repetition’ is key to improvisation although it complicates the meaning of improvisation. Derrida does a remarkable job eliciting connections between their ideas as well as their shared experiences of racism and ‘otherness’.