From global to local

Part of the joy of jazz is that it mixes all sort of creative influences. From whatever standpoint one starts, the extent of the mix differs: sometimes more folky, sometimes more African. It is a thrill that musicians can get together from different places and create something unified. A positive view of globalisation. Except....
The authorities are making it harder to get the visas and work permits required to encourage this interconnection.
The Vortex, for example, is registered with the Border Agency for issuing work permits.  They can be issued in minutes nowadays. Except that it is getting harder overall. Because there are fewer venues registered. (No suprise, as once the application  is in, there then follows a 90 minutes interview with 3 officials.)
It's the same for musicians wanting to go to the US. I know of several who now can't be bothered, because of the paperwork, or don't meet the criteria. All that work that Pete King undertook to at least creative exchanges, now undone.

DAVE LIEBMAN, EVAN PARKER, TONY BIANCO AT VORTEX

At last it's out on CD. This is a legendary gig of Evan, Dave and Tony at the Vortex in 2008. the first time that they played together - and the only time till now.

Available on Red Toucan records, you can buy it online.

I was there. BUY IT HERE

The announcement of John D's death

There seems to have been shock and consternation about how Cleo Laine could have performed a concert knowing of her husband's death. (One person whom I have spoke to thinks that this is due to Cleo's selfishness and desire for limelight. Mistaken of course. But this is a person with whom I understand there was no love lost between him, Cleo and JD.)
Surely music is one of the best means of outpouring of grief?
We had a similar situation at the Vortex recently, after Jackie Tracey's death. Devoted wife and manager of Stan - and of course mother of the band's drummer, Clark. Stan played the Vortex 2 days later.
Truly professional, truly emotional.

John Dankworth

A few random jottings about things that impressed me about John Dankworth, in random order:

His commitment to furthering jazz, not just through education but through advocacy, e.g. Jazz Development Trust.
His awareness of all generations of musicians, to the extent that he replaced Allan Ganley with the young tyro Jim Hart
His encouragement of musicians, such as getting the Wavendon Allmusic scheme started. Being a major figure in bringing bebop to Britain through Club 11.
The enthusiasm to play. When he and Cleo did a gig at the Vortex, he played with his quintet for an hhour before she joined in for a further 90 minutes. And this was just 4 years ago.
A selflessness to Cleo. In the Vortex autograph book, he filled it in and signed it. However leaving the space above his own signature for Cleo!!
Telling me that he had to bring his saxophone into the Royal Academy of Music in a violin case if he had a gig that night, because of the antagonism of the RAM at that time to jazz. I gather that later he offered only to teach saxophone if they set up a big band. A good quid pro quo.
His generosity in giving away the Stables as a theatre and allowing people to wander around his garden every year for a festival.

No doubt more will come to me. But that's a nice little selection....

Predictions for 2010 -

What chance HMV buying Ronnie Scotts in 2010? As they are now buying the Mama Group, which includes Jazz Cafe and Apollo, to get involved at Ronnie's would have sense.
Or the Arts Council selling some of its property portfolio, e.g. AEG buying South Bank; or privatising some of its functions, e.g. a trust taking over Royal Opera House? Here it is because it becomes a way for the government to raise some money to reduce its deficit.

Hmmmm