1. Liam Noble - Brubeck (Basho)
2. Blink - Blink (Loop)
3. Jim Mullen Organ Trio featuring Stan Sulzmann - Make Believe (Diving Duck)
4. EST - Leucocyte (ACT)
5. Phil Robson - Six Strings and The Beat (Babel)
6. Kenny Wheeler - Other People (Camjazz)
7. Hank Roberts - Green (Winter & Winter)
8. Liane Carroll - Slow Down (Splashpoint)
9. John Law - Art of Sound Vol. 3 (33Jazz)
10. John Taylor - Whirlpool (Camjazz)
Based on CDs available at the shop besides the Vortex.
To appear in Jazzwise in April.
Saturday, February 28, 2009
Friday, February 27, 2009
Where is jazz played in London?
Seb Scotney's LondonJazz blog has an ongoing investigation about why the Royal Opera House stopped putting on jazz. I remember seeing some lovely gigs there. I understand that there have been some good quality rock gigs there, such as Snow Patrol. So it's potentially just the sort of place, in my humble view, where jazz could and should be occurring. High quality, accessible etc.
Unfortunately, they have stopped, apart from performances "mainly around festivals". Due to concern that it might interfere with other areas of programming and that they no longer fitted in with our artistic vision. Hmm. And as if jazz only exists at festival times?
The man in question, Christopher Millard, flannelled about a bit but couldn't clarify. What is the artistic vision of the Royal Opera House that it doesn't include some of the most innovative musicians around? Maybe they should ask Mark Anthony Turnage who ha written extensively for jazz musicians, such as Dave Holland and John Scofield as well as explaining that he is greatly influenced by Miles Davis.
We suggest that you ask more of the Royal Opera House, email Christopher Millard, Director of Press and Communication on christopher.millard@roh.org.uk
Ian Carr, R.I.P. Always elegant, in his music, in his writing and in his appearance. Thank goodness he was still aware enough when the jazz world gave him accolades at BBC Jazz Awards and Parliamentary Jazz Awards. He gave encouragement to many and seemed to have time for all.
Unfortunately, they have stopped, apart from performances "mainly around festivals". Due to concern that it might interfere with other areas of programming and that they no longer fitted in with our artistic vision. Hmm. And as if jazz only exists at festival times?
The man in question, Christopher Millard, flannelled about a bit but couldn't clarify. What is the artistic vision of the Royal Opera House that it doesn't include some of the most innovative musicians around? Maybe they should ask Mark Anthony Turnage who ha written extensively for jazz musicians, such as Dave Holland and John Scofield as well as explaining that he is greatly influenced by Miles Davis.
We suggest that you ask more of the Royal Opera House, email Christopher Millard, Director of Press and Communication on christopher.millard@roh.org.uk
Ian Carr, R.I.P. Always elegant, in his music, in his writing and in his appearance. Thank goodness he was still aware enough when the jazz world gave him accolades at BBC Jazz Awards and Parliamentary Jazz Awards. He gave encouragement to many and seemed to have time for all.
Wednesday, February 25, 2009
An honorary degree
The LondonJazz blog draws attention to the fact that I am going to get an honorary degree from the Royal Academy of Music. I shall sheepishly accept the Hon A-RAM. When I initially heard about it, I had hoped that it was for the Vortex itself. I find it a cool concept to make an inanimate club seem animate.
Meanwhile. I discover that there are only 300 independent record shops left in the UK. Add to that HMV etc. that probably means not more than 500 in a country of 60 million! That's why digital becomes so important. Meanwhile, when I put CDs on the counter at the Vortex, everyone goes in to have a look. Force of habit? Frustration that there is nowhere else to look nowadays? Who knows? But the breadth of interest is shown by a person who buys Lenny White and Ellery Eskelin CDs at the same time.
Meanwhile. I discover that there are only 300 independent record shops left in the UK. Add to that HMV etc. that probably means not more than 500 in a country of 60 million! That's why digital becomes so important. Meanwhile, when I put CDs on the counter at the Vortex, everyone goes in to have a look. Force of habit? Frustration that there is nowhere else to look nowadays? Who knows? But the breadth of interest is shown by a person who buys Lenny White and Ellery Eskelin CDs at the same time.
Tuesday, February 24, 2009
New range of CDs in the shop and coming online
The Babel shop now has a selection of CDs from pi, AUM Fidelity, Camjazz, Basho, ACT and Winter & Winter. As well as the full Babel catalogue
These include the new John Taylor solo CD "Phases", as well as his other Camjazz CDs and those of Kenny Wheeler.
I have also picked up some interesting CDs from Czech Republic. There is also a £2 bargain bin, with some of the remnant CDs from the Vortex. (All proceeds from these sales go direct to the club.)
Among the UK CDs now in are: Barry Green's New York Trio, Liam Noble/Paul Clarvis - Starry Starry Night, Trianglehead, Jim Mullen Organ Trio featuring Stan Sulzmann.
More and more of the CDs are also available online via the Babel website or click here
Come down to check it out.
9 Gillett Square, London N16. Next to the Vortex.
Core opening hours: Thursday-Saturday 3-11 p.m.
Other times: a small selection for Vortex gigs when I'm there
Otherwise, email me on shop@babellabel.co.uk if you have any particular order. You can specify when you want to collect.
These include the new John Taylor solo CD "Phases", as well as his other Camjazz CDs and those of Kenny Wheeler.
I have also picked up some interesting CDs from Czech Republic. There is also a £2 bargain bin, with some of the remnant CDs from the Vortex. (All proceeds from these sales go direct to the club.)
Among the UK CDs now in are: Barry Green's New York Trio, Liam Noble/Paul Clarvis - Starry Starry Night, Trianglehead, Jim Mullen Organ Trio featuring Stan Sulzmann.
More and more of the CDs are also available online via the Babel website or click here
Come down to check it out.
9 Gillett Square, London N16. Next to the Vortex.
Core opening hours: Thursday-Saturday 3-11 p.m.
Other times: a small selection for Vortex gigs when I'm there
Otherwise, email me on shop@babellabel.co.uk if you have any particular order. You can specify when you want to collect.
Friday, February 20, 2009
Banks and the major players in music industry - the parallels?
Having had a period in both worlds - my initial calling was as an "economist" - I am trying to draw parallels between the decline of the banks and that of the majors in the record industry.
It's difficult and I think that this will be an evolving topic over the next period.
So far, I have laid both sides down to technology and the ignorance regarding it. The bank bosses blindly followed the findings of rocket scientists who could come up with an apparent alchemical way of turning low quality housing in Hartlepool into squillions of pounds for bank bosses.
The major record companies fought it on the other hand, not realising what could happen to their revenues. They fought Napster, they have tried to fight file sharing. Funnily enough it was a computer company, Apple, who showed them the way forward, with itunes. Unfortunately for them, just as there were beginning to be revenues appearing from this side, the recession struck big time.
So the contrasts are probably greater than the similarities. Other contrasts - music has a better quality underlying product, even if it seems costly, than the banks had. Music development is a long-term phenomenon. By contrast, banking, certainly in the past few years, has been a short-term fix.
Both have been equally unable to learn from history or from their mistakes.
Certainly there will be different solutions to the problems. When Guy Hands tried to solve EMI as one of short-term financial returns, he failed miserably.
I just feel that the jazz world probably has the answers for the music industry. There are people still in the majors who believe in music.
The advisers to the governments on the banks themselves are implicated and trying to save their skins.
It's difficult and I think that this will be an evolving topic over the next period.
So far, I have laid both sides down to technology and the ignorance regarding it. The bank bosses blindly followed the findings of rocket scientists who could come up with an apparent alchemical way of turning low quality housing in Hartlepool into squillions of pounds for bank bosses.
The major record companies fought it on the other hand, not realising what could happen to their revenues. They fought Napster, they have tried to fight file sharing. Funnily enough it was a computer company, Apple, who showed them the way forward, with itunes. Unfortunately for them, just as there were beginning to be revenues appearing from this side, the recession struck big time.
So the contrasts are probably greater than the similarities. Other contrasts - music has a better quality underlying product, even if it seems costly, than the banks had. Music development is a long-term phenomenon. By contrast, banking, certainly in the past few years, has been a short-term fix.
Both have been equally unable to learn from history or from their mistakes.
Certainly there will be different solutions to the problems. When Guy Hands tried to solve EMI as one of short-term financial returns, he failed miserably.
I just feel that the jazz world probably has the answers for the music industry. There are people still in the majors who believe in music.
The advisers to the governments on the banks themselves are implicated and trying to save their skins.
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