The Sussex

Fortnightly Issue 10 Monday 6th January - Sunday 19th January 2014

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Happy new year to all our readers.

The new year will see some changes to The Sussex Jazz Mag.

Rather than reviewing gigs after they’ve happened, our new focus this year will be previewing upcoming gigs and interviewing musicians before they appear at venues across Sussex.

We will also have some new contributors writing for the magazine, a new-look website with extra content and more great interviews and features.

And you can now follow us on Twitter.

Pianist and educator Terr y Seabrook continues his monthly series of jazz improvisation tips with a look at the harmonic major scale.

Our previewing begins with an interview with veteran guitarist Jim Mullen who launches his new organ trio album, Catch My Dri!, at The Verdict in Brighton on Friday 10th January.

https://twitter.com/SussexJazzMag

FeaturesThe Column:Eddie Myer

An Interview withJim Mullen

ListingsHighlights

Jazz ListingsMon 6th January - Sun 19th January

On The Horizon

Venue Guide

PreviewsRemi Harris

Adrian Cox

Radio Programmes

Podcasts

You Tube Channels

ImprovThe Jazz Education Section

Improv Column:Terry Seabrook’s Jazz Tip No. 5

A Guide toLearning Jazz in Sussex

CONTENTS

The Sussex

JAZZ MAGThe Sussex

Monday 6th January - Sunday 19th January 2014

" " " " " Credits" " " Contact Us

click or touch the blue links to go to that page

Features

Guitarist Jim Mullen, interviewed by Sussex Jazz Mag editor Charlie Anderson.

The Column: Eddie Meyer

A New Year

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" The dust ha s se t t l ed f rom the undignified collapse of 2013, and 2014 has made its dishevelled entry but has yet to reveal its true nature, leaving us free to indulge in a bit of speculation. The recent sad loss of Stan Tracey reminds us again how few of the players from the “classic era” of 20th century jazz are still with us; 2013 also saw Sonny Rollins forced to cancel his London shows due to illness, and we can only admire the sheer creative energy of Wayne Shorter as he continues to innovate into his 80s, with his Barbican appearance featuring the BBC concert orchestra and a programme of original work attracting excellent reviews. Jazz draws a lot of its cultural cachet as a popular music that’s also an art music from the continued vitality of these elder statesmen, and it would be great if the Brighton Dome saw the return of an artist of the calibre of Shorter, John McLaughlin or Dave Holland; all have played the venue in the past few years (as indeed, long ago, did John Coltrane with his classic quartet - apparently a large proportion of the audience were expecting something more along the lines of “If I Were A Bell” and left early). While Ronnie Scott’s is currently featuring George Benson at £275 a ticket, and are so confident of sales that they’ve imposed a restriction of 2 tickets per member, promoters in the Brighton area seem to have become less willing to take a risk on big -name jazz. Unfortunately, the same seems to be true of the Brighton Festival, which has some deep pockets lined with sponsorship but has noticeably overlooked jazz when seeking to add highfalutin lustre to its programme of contemporary cultural events. As so often, jazz finds itself to be not highbrow enough for taxpayer funding, but not popular enough for commercial support. " The notable exception to this trend in 2013 was of course the Love Supreme Festival

which combined some very commercial headliners (no need to mention names) with the more recherché likes of the Kairos Quartet and Troyka and heavy hitters from the US l ineage Branford Marsal is and Terence Blanchard. That was quite a gamble, but aided by some providentially excellent weather it seems to have paid off, to the extent that they’re set for a return in July 2014. We await the line-up with bated breath. The public’s appetite for Green-Field festivals has been shown to be prodigious but not limitless, so let’s hope this one thrives enough to become a regular feature of the local scene and attract more international quality artists to the area, which in turn (dare we look so far ahead?) might stimulate both the quality of jazz played around here, and the quantity of people prepared to pay to come and listen to it. " All this is ever more relevant as 2013 saw a continuation of the familiar drop in album sales in the UK. Streaming revenue has increased by a massive 33% but it’s impossible to tell how that will translate to a jazz-consumer base with notably conservative tendencies (vinyl sales are up too, a stupendous 101%, though the actual quantities involved are sadly minimal.) So live playing to paying audiences continues to be vitally important to the survival of jazz musicians today. Let’s hear it again for The Verdict jazz club, recently celebrating its second festive season, and still bringing us a superb roster of British jazz in all its variety. Where else could you have caught h o t l y - t i p p e d -b y - t h e - c r i t i c s - f o r- 2 0 1 4 saxophonist/composer Trish Clowes, appearing as a sideman in Dave Drake’s outfit alongside the equally superb Riley Stone-Lonergan, all for a fiver? Keep an eye on the listings, you wouldn’t want to miss out, would you?

Jim Mullen

How did the latest album come about?

! “Most jazz albums, as you probably know, are cottage-industry stuff. There’s not a lot of money about, so most of my albums are recorded in a day in a studio, which means you really have to be prepared.”! “My latest one, with my organ trio, is our fifth CD. We’ve been around for about ten years. I was really just thinking about the whole kind of concept album th ing . Some guy in a su i t presents you with what your new album is going to be. I always resisted the idea of tribute albums but when somebody famous dies they all want you to do a tribute to them. Even people like John Scofield have to do this. He told me that he has to do two a lbums o f the company’s choice before he can do one of his own, which is quite a difficult trade-off.”! “Anyway, I did some notes for my new album, Catch My Drift, which means “do you understand me?”. I was thinking about how it used to be in the old days before guys in suits told you what your album was going to consist of. Most of the albums that I lo ve were made by musicians just turning up in the studio and deciding there and then what they were going to play. I think back to some of these Miles Davis Quintet albums where he was looking to get out of his contract and he owed them four albums. He took

the band in one weekend and just whacked down the first takes of anything he fancied. And it sounds great! Sometimes that kind of natural, spontaneous thing is what makes jazz catch fire and really happen. That was my concept for this one. I didn’t go to the studio and decide, obviously. I thought about it in advance. I just picked out my current favourite tunes and then things that had been on my list to do for a while and hadn’t got round to. It’s a labour of love for me in that I’ve just picked out some really great tunes and got the band and rehearsed for a bit and then went in to the studio.”! “We had a few problems that day actually because they had an organ in the studio that was malfunctioning so of course if you’re doing it in a day, you don’t have a lot of time for guys to come and repair things. Fortunately, Mike Gorman, who plays organ in the trio, had his own organ in the car, one of those Nord two-manual things that ’s por tab le , and he ’s programmed in some great B3 sounds so it really sounds like a Hammond. So we brought that in and we were able to salvage the session but normally we would use a Hammond B3 (hired) to do the album just because it’s got more of a big rich sound. But taking it on the road is a whole other ball game. You need a truck and lots of strong young men to carry it around. I’ve still got hernias from twenty years ago carrying these things.”

! “Anyway, we used Mike’s organ and it all came out. We had to re-record a couple of tracks once we ’d d i sco vered the problem with the studio organ but it was cool, we got it done, mixed it. I’m really pleased with it.”! “That was the plan. To do ‘this is where I’m at right now’. I’ve been recording for a lot of years, I don’t know if I’ve got that much left! I’ve recorded five albums last year. They’re not always my albums but things I’m involved in and it’s been a good year in terms of that. But most of the time I would only record my stuff once every two years. And you do need ‘new product’ these days to be able to get festivals as they’re not interested unless you’ve got something to plug. So it puts pressure on you if you’re not a big, established international artist (which I’m not), you still need something out.”! “The whole thing about recording it quickly and cheaply is really down to budgetary requirements. The label we record for, Diving Duck, is run by a session player who inherited some money and put it into his own little label. So he lets me go in and do what I feel like doing and I’m very fortunate because I don’t have guys in suits telling me what I should be doing. I don’t think I’d be very good at doing that. Being Scottish and never part of the Diplomatic Corps, I tend to tell it like it is.”

Sussex Jazz Mag editor Charlie Anderson recently met up with Scottish guitarist Jim

Mullen at his flat in London to discuss his new album, Catch My Dri!, which he launches at

The Verdict in Brighton on Friday 10th January.

When I was a teenager I saw you performing as part of Morrissey-Mullen.

! “That’s most people’s first connect ion wi th me . The Average White Band, who were friends of mine, they had gone to America and recorded an album with MCA and they said they didn’t want it so they tore up the contract and they then got signed to Atlantic records and worked with a top producer. He added the magic final ingredient and suddenly their thing was global hits, with the number one single and album on Cashbox and Billboard.”! “They were riding h igh and they remembered old mates, I guess. So I got a call from New York saying ‘do you fancy coming to New York and recording an a lbum wi th Dick Morrissey?’ The two sax players in The Average White Band, Malcolm Duncan and Roger Ball, had been huge fans of Dick Morrissey. Dick had been in va r ious bands and I think they’d had some lessons off him as well. They really liked his playing. Dick was one of the least ambitious guys you can imagine, he had no plans to try and ‘make it’. He was quite happy to accept whatever came his way but he wa s a lways a g reat presence on stage and really played his heart out every night. They gave me his number, we were living quite close, we met in a pub. We were both at a similar point in our lives. I’d just left a ten-piece band, Kokomo. Some great people in that band but I’d left and Dick had just left an English rock band with a horn section called If. He’d just got tired playing that loud. It was really loud.”! “Dick and I had both decided almost at the same time

that we didn’t want to do that any more and really we just wanted to fo l low our own feelings. He mentioned that he was a big fan of The Crusaders and those CTI albums with Stanley Turrentine and George Benson. And I love that, too. So we had a lot in common and he wanted to do something that was still be accessible to people but with more of a jazz element to it. So we got together.”! “I was crashing on the floor of a roadie friend’s front room in Wimbledon. I was at my lowest ebb, by the way. I had a suitcase and a guitar and that was

it. I was actually considering going back to journalism because I hadn’t worked for a year.”! “Anyway, Dick and I got together. He had a few tunes, I had a few tunes. And we started just the two of us, trying it out and it worked. And we went out to New York and we did the album with The Average White Band, who had just finished doing their own album and were looking to just jam and have fun. They were very disciplined in the studio but they loved the idea of just jamming. I scribbled out some chord charts, they played it and it sounded great. They brought something to the music because they were so organised.”! “And that was the start of the Morrissey Mullen thing. And

that went for almost 15 years. Dick was just...That was my musical education, having to follow him every night. He was fantastic, and I was just plinking-plonking away with little blues licks. I wasn’t really a developed player at that time and I really had to follow him every night which was very daunting because he was the finished article. He was great and he had a sound like this. When he was playing I was like ‘wow!’ and so powerful and a g reat me lod ic sense and a fantastic rhythmic feel to his playing. He had everything. And he was a really gentle, sweet

human being as well who never gave anyone a hard t ime in h i s whole life. I, however, was the other sort and one night he took me aside and said “Listen, don’t give guys a hard time. They’re trying their best. You can’t browbeat people into playing better. You can only encourage them.” And that’s what he did. When other people were playing he’d be like “yeah!” and really vocal with eye contact

and encouragement. He wa s a ver y g rac ious and supportive guy. And I realised that eventually, being a bit of a twit when we first got together and thinking that you could hassle people into being better.”! “The band ran its course. Fifteen years is quite a long time in band terms, especially when you’re not big stars. And we really enjoyed playing together, and we had various versions of the band. But then it ran its course. Dick was the first one to go, he wanted to go back to playing his loose-blowing jazz in pubs. And his health was also beginning to deteriorate. I found it quite hard at first but then I started to find my way of doing things and I got various bands of

my own together and that’s been me since 1990. The band went from 1975 to 1990. It took me a few years to find a way to go in terms of my own stuff and I had various bands. The organ trio has been for the last ten years. Plus working with other people. I’ve worked with singers and I’ve just been working quite a bit with English band Incognito who are very big in Japan and we’ve been out there a couple of times. I still work with Hamish Stuart from The Average White Band who lives in Kent now and he has various projects on the go.”! “I still do sessions so long as it’s not too hard. A lot of the young guys are writing these black pages of this complicated, upside-down stuff. I usually cop-out of all that. They’re all college educated , you know, and incredibly talented composers, great sight readers. I’m the other guy. I ’m probab l y the l a s t generation of completely self-taught players. I just learnt to do it by doing it and figuring it out as I went along, whereas most of the new generation, even the guys in my trio, they’re music college graduates. What that means is basically they learn things a lot faster. It took me twenty years to learn what they figured out in two. That wasn’t available to me when I was a kid, e spec ia l l y g rowing up in Scotland. There wasn’t even a guitar teacher there. You just gleaned what you could from kids. I got my first guitar when I was about eight. I used to go round to a kid who lived round the corner. I’d knock on his door and ask him to show me a chord. That’s what happened. There was no other way of doing it. This was before all the music minus one CDs you can get, this guy’s method, that guy’s method. The internet means there’s so much information available now, so the learning process is much faster. For me it was slow, plus I was working as a journalist for a lot

of those years and music was a sideline. I never imagined I’d be a pro musician. But as you get older you realise that you’ve got to follow your feelings in certain things. The decision to leave journalism wasn’t taken lightly. Growing up in the East End of Glasgow, and job security - my Dad used to drive that into me.”! “I took the plunge and came down here to London. But I ’m enjoying it . Music is a lifetime learning curve. I’m 68 now and I’m a better player now than I’ve ever been. You start to realise why some musics stay around and others go away. You start to see a kind of perspective. Why some musics don’t last. Maybe there isn’t enough there or they were too f a sh ion -conscious at the t ime. I ’m thinking particularly of a lot of the music of the Seventies, The Mahavishnus and Return to Forever. And the jazz guys were being pragmatic. They saw the so-called supergroups fil ling

sports stadiums and they thought “shit, we play better than them, why don’t we do something together and wear funny c lothes“ . And that ’s what happened. Miles Davis played a big part in that as well, taking jazz out of the club and into the concer t ha l l o r the spor t s stadium. And that became a big thing.”! “For me, this music that I play is never going to be mass popular. But there is an audience for it out there and actually I pre fe r p l ay ing in c lubs . I remember Mose Allison who I worked with whenever he came

over to London. He told me that he’d only play clubs because if you do a festival you don’t know what time of the day you’re going to be on, you have no control, the sound guy is 500 yards away and you have no control over what he does to your sound and Mose Allison’s music is very intimate and humorous and he needs to control that. And he can do that in a club but he can’t do it in a field, at a festival. Even in a concert hall it’s harder. So he really only does clubs, and I can understand that because most of the great music I’ve ever heard in my life was in clubs. Where you ’ re up c lose to what somebody’s doing. It’s more honest. On a stage, in a big arena, everything becomes more theatrical so for me, I’m still doing clubs and that’s fine. That’ll see me out!”

Do you have plans for the future?! “Try to stay alive, for as long as I can, basically. In fact I ’m enrol ling in a gym this month for the first time in fifty years or something like that. I’m going to try to get myself fit.”! “In this game it’s hard to make too many plans. Sometimes you look in the diary and you get snow-blindness because there’s all this white empty space. I’m just going to keep playing. I love playing. It’s something that I really enjoy doing. People seem to like what I do. I work quite regularly. In terms of plans, I just want to keep developing as a player. I haven’t written anything for a while so I need to get back into it. I haven’t written anything for a few years and I’m starting to feel the urge. I’ve got about 120 tunes out there, published but I tend to tire of my stuff more than I t i re o f o ther people’s. And I still work out of the standard repertoire, there’s still a lot of mileage in that stuff. There’s also some Brazilian music.”

Do you play other styles of music?! “I still fool around with folk music. I did an album of Scottish folk songs once, written by Robert Burns and that was quite well received. Because I grew up with that stuff. On my last album there were two. It’s like a work in progress for me, I was singing those songs at school when I was five. They become lodged somewhere in the back of

your mind. Some of them are really, really pretty songs. So I just added a little more harmony to it and tried to find a way of doing it that didn’t destroy it, and didn’t just jazz it up, like Benny Goodman playing ‘ye’ll take the high road, and I’ll take the low road’ [The Bonnie Banks o’ L o c h L o m o n d ] . It became caricature and I hate that. For me i t wa s rea l l y t ak ing i t seriously and that was one of the few things that I’d always wanted to do. I did it and it got probably the best reception than any of my other records ever had. I also did a similar thing with an album called Animation, which was music from Disney animated films. My mother was a big movie fan and took me to see a lot of those things.”! “Unfortunately, the record label we were with at that time decided to merge with a bigger label and our album went down the toilet, basically. So I found myself in the situation where I wa s tour ing in the winter promoting an album that came

out with minimum publicity, months after the tour. But that’s the nature of this beast.”

Tell us more about your CD launch at The Verdict in Brighton.! “I like the Verdict. The one at the Verdict will be our first gig playing this music.”! “There’s a Chick Corea song on an album that Chaka Khan sang the melody of. It’s a great song called The Aerialist about a trapeze artist. The words are great, about the danger and the thrill and the music echoes that. A quite dangerous, tricky kind of melody and quite an exciting uptempo thing.”! “There’s an Earth Wind and Fire tune that we’ve tried to make jazz out of called You Can’t Hide Love, which I used to play with Dick Morrissey way back as a funk thing, but now we’re doing it as a jazz rhythm thing but still paying good attention to the tune.”! “There ’s a Toots Thielemans ballad which is really beautiful called For My Lady and a couple of old standards, Deep In A D r e am by Jimmy Van Heusen which is normally a ballad but we play it fast.”! “And there ’s a B i l l y Strayhorn thing called Daydream which is a really lovely medium swinger.”! “A couple of Antonio Carlos Jobim things, Samba de Aviao. It’s a fantastic tune. Also one of his ballads Esquecendo Voce.”! “There’s a Steely Dan tune. I’m a big fan of Donald Fa gen’s wr i t ing . It ’s ca l led Maxine from the album The Nightfly.”! “So it’s a mixed bag again but it’s basically things that I’ve wanted to do for a while. And it’s with my long-time trio, Mike Gorman on organ and Matt Skelton on drums. We really

enjoy playing together. They’re great players. They were kids when we first started playing together. They’ve grown up now. I’ve watched them grow.”! “I en joy p lay ing with young guys . I do gigs with musicians that are still at college. London is full of music colleges teaching jazz which is great. So I’m playing with kids who know more than I do, which is a bit scary sometimes. But they’re really talented and this is what fills me with great hope for the future: talent will out. Talented people will never be ignored. It means there’s a broadening base for current players and future

players because of the standard of playing now. For me it ’s exc i t ing . I u sed to be the youngest guy in every band I played in and now I’m the bloody oldest, by a long way. But I enjoy that and the challenge is always there.”! “I ’ve a lways regarded myself as an ensemble player. I’ve always seen my role as to fit with other guys and not just to ignore them and just twiddle away. To integrate and to interact with what they’re doing. It’s exciting for me too to be involved with these talented young players.”

Jim Mullen Organ Trio perform at The Verdict in Brighton on Friday 10th January.

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Improv

The Jazz Education Section

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The Improv ColumnTerry Seabrook’s Jazz Tip of the month No. 5

The harmonic major scale in jazz

“The harmonic major scale, what’s that?” I hear you say. “I’ve heard of the harmonic minor scale but not the harmonic major.” Well it’s an interesting scale and closely related to the harmonic minor:

C harmonic minor:

Now the harmonic major scale is a major scale except with a lowered 6th degree (6th note). This makes it almost identical to the harmonic minor except that the 3rd degree is a major 3rd (E) rather than a minor 3rd (Eb):

C harmonic major:

The particular thing that unites the harmonic major and minor in their sound is the characteristic sound of the last 4 notes: perfect 5th, minor 6th, major 7th, perfect octave (G, Ab, B, C). The small intervals of a minor 2nd (G-Ab and B-C) around the larger interval of an augmented 2nd (Ab-B) (which sounds like a minor 3rd) gives it a strong oriental or Slavic feel.Indeed, music from Eastern Europe, North Africa, Andalucia, the Middle East and Asia frequently use this grouping:

Other scales use this “harmonic bit” or cell twice. Here are two examples:

C double harmonic major:

C double harmonic minor:

The presence of an augmented 2nd is considered to be melodically awkward in classical music and in the context of the scales above sounds non-Western. These scales all have three types of second: minor, major and augmented. However some contemporary composers have used it and it offers an interesting way to add different sounds to improvisation.

The Harmonic Major Scale And Its Modes

In applying the harmonic major scale to improvisation it needs to be learnt in all 12 keys or transpositions and explored in its seven modes. These modes have been named by adapting the names of the seven major scale modes (major, dorian, phrygian, lydian, mixolydian, aeolian and locrian):

Mode NAME NOTES Parent NOTES TRANSPOSED IN C

I Harmonic major C

II Dorian b5 Bb

III Phrygian b4 Ab

IV Lydian b3 G

V Mixolydian b9 F

VI Lydian augmented #2 E

VII Locrian bb7 Db

Here is a solo I composed (in improvised bop style) over the changes to “What is this thing called love” by Cole Porter. I have employed mostly harmonic major scales (HM) with some Double Harmonic Major Scales (DHM).

A Guide to Learning Jazz in Sussex - Part 1Listings of jazz courses and workshops in Brighton and Hove.

Sussex Jazz Guitar School

Guitarist Paul Richards has only been running the school since June this year but it has already become a popular course for aspiring jazz guitarists.The course covers everything from technique and how to practice e f fect ive l y through to chord voicings, soloing ideas and learning repertoire.Students are given prep work to practice before classes as well as a recap on what was covered in previous classes.Although the course is not designed for total beginners, Paul offers one-to-one lessons for those wishing to learn jazz, latin or classical guitar.

Dates & Times:One Saturday each month.11am - 1:30pm

Location:The Brunswick, 1-3 Holland Road, Hove BN3 1JF

Cost:£20 per class / £55 for 3 classes

Website: http://paulrichardsguitar.com

Contact: LatinGuitarPaul@hotmail.co.uk

Brighton Jazz School

Jazz pianist Wayne McConnell has been running Brighton Jazz School for nearly 3 years and the school continues to grow and develop as a place to learn jazz in an authentic way.Brighton Jazz School students are eligible to perform each week at The Verdict and the school also runs masterclasses with world-class jazz musicians as well as a monthly podcast.

Dates & Times:Beginners, Saturdays 11am-2pmLearn To Play, Tuesdays 11am-6pm.Jazz Extensions, Mondays 3-6pm

Location:Beginners Course: The Verdict, 159 Edward St., Brighton BN2 0JB Learn To Play & Jazz Extensions: The Brunswick, 1-3 Holland Road, Hove BN3 1JF

Cost:Learn To Play £250 for 10 weeksBeginners £150 for 10 weeksTaster Days available.

BJS also has runs a Composing & Arranging Weekend as well as Summer & Winter Schools.

Website:www.brightonjazzschool.com

Contact: brightonjazzschool@gmail.com

The Brighton Jazz Co-op

The Brighton Jazz Musicians Co-operative has been running since 1986. A group of local musicians get together once a week and pay a top-class tutor to give a workshop.

Local musicians such as Geoff S imkins , Mark Ba ssey, Terr y Seabrook and Julian Nicholas are always very popular tutors.

Tutors o f ten teach for two consecutive weeks but expect a different set of students each week, along with a few of the regulars.

The summer months usually see a friendly jam session where students get together and play through the tunes learnt in previous workshops as well as other tunes that students are interested in.

Dates & Times:Every Tuesday. 8-10:15pmStudents are encouraged to arrive a few minutes earlier to set up their instrument(s).

Workshops resume on Tuesday 14th January 2014.

Location:The Good Companions (upstairs room), 132 Dyke Road, Brighton BN1 3TE

Cost:£7 per class / £4 concessionsCash payments are collected during the break.

Website: www.brightonjazzcoop.org.uk

A Guide to Learning Jazz in Sussex - Part 2Listings of jazz courses and workshops around the Brighton area

Geoff Simkins Jazz CourseA Saturday course r un by saxophonist and jazz educator Geoff Simkins:

“I've been running the Saturday classes for over 20 years, until recently they were part of the Centre for Continuing Education at The University of Sussex, but when the University closed the entire department, many students asked me to continue to run the classes independently.”

“They are now held at The Bridge Community Centre, Lucraft Road, Brighton and this year I'm running an Intermediate and an Advanced class on alternate Saturdays.”

“It's aimed at serious musicians who want to improve all aspects of their playing and so students sign up for a year's classes (5 classes per term, 3 terms) but the coming course is fully subscribed already and, like every previous year, there's a waiting list.”

“My teaching is based on the knowledge/experience acquired o ver near l y 40 year s a s a professional jazz musician and as a teacher at conser vatoires, including The Royal Academy, Trinity Laban, and The Royal Welsh College of Music.”

If anyone wou ld l ike more information about the Saturday classes or one-to-one lessons they can contact Geoff Simkins at geoff.simkins@ntlworld.com.

Jazz Singing Workshopswith Imogen Ryall

Dates & Times:Saturdays, 10:30am-12:30

Location:Rottingdean, contact Imogen for more detailsimogenryall@gmail.com

Cost:£7 per person

Contact:imogenryall@gmail.com

For more information on Imogen Ryall visit:www.myspace.com/imogenryall

As well as teaching vocal students on the Chichester Jazz Course, Imogen teaches at these other courses: ‘Swing While You’re Singing’ at Evolution Arts, Brighton on three Saturdays starting from 14th September.

Visit www.evolutionarts.org.uk for more info and booking.

Jazz Singing for Beginners/Intermediate at Chichester College is taught for ten Wednesdays (7-9pm) from 19th September onwards.www.chichester.ac.uk/Course/Adult-Education/

Jam sess ionsin the Br ighton area

MondaysThe Bee’s Mouth,10 Western Road, Brighton BN3 1AEHosted by guitarist Luke Rattenbury9pm - late.

Tuesdays

The Brunswick,1-3 Holland Road,Hove BN3 1JFHosted by guitarist Paul Richards8pm -11pm

Wednesdays

The Verdict,159 Edward Street, Brighton BN2 0JBHosted by pianist Katy O’Neill.9:30pm - late.

A Guide to Learning Jazz in Sussex - Part 3Listings of jazz courses and workshops around Sussex.

Jazz Smugglers, Bosham

The Jazz Smugglers regularly put on workshops that focus on musicianship skills which can only be learnt in a group setting.

Dates & Times:Starting on Sunday 8th September Sundays 7-9pm

Location:Bosham

Contact:jazzsmugglers @yahoo.co.uk

Tel. 07533 529379  

For more information:

http://www.jazzenthusiasts.com

Ropetackle, Shoreham

Renowned jazz trombonist Mark Bassey leads this workshop for intermediate to advanced level jazz performers. The focus is primarily on contemporary jazz and student’s o r ig ina l compos i t ions and arrangements.

Organiser Steve Lawless says:“Mark's popularity has meant that we have been continually full. We keep a balance between rhythm instruments, and vocal / horns and have a waiting list for the piano seat”.

Dates & Times:Fridays 2-4;15pm22nd Nov. - 20th Dec.Two one-hour sessions with a 15min break in between.

Location:Ropetackle Arts Centre, Little High St., Shoreham-By-Sea, BN43 5EG(First Floor, Mezzanine Room)

Cost: £60 for a block of four sessions

Website: http://www.ropetacklecentre.co.uk

This course currently has a vacancy for one front-line instrumentalist.

Contact:Steve Lawlesssteve.lawless@gmail.comMobile: 07514 569595

Chichester Jazz Courses

HND Jazz (Level 5)for advanced musicians

Diploma in Music - Jazz (Level 3) for intermediate musicians

Diploma in Performing Arts - Jazz (Level 2)for beginners

Dates & Times:Courses start every September.

Location:Chichester College, Westgate Fields, Chichester PO19 1SB

Cost:Variable fees depending on status.

Website: www.chichester.ac.uk

Previews

Guitarist Remi Harris appears at Jazz Hastings with Ian Price, Steve Aston and George Trebar on Tuesday 7th January.

Remi Harris

Little-Known Fact

His name, Remi, comes from the second and

third notes of the major scale - the solfege system

- Do, Re, Mi

Live

Tuesday 7th January at Jazz Hastings

Learn More

http://www.remiharris.co.uk

https://www.facebook.com/theremiharristrio

Guitarist Remi Harris has performed at festivals such as Brecon and Samois Sur Seine as well as performing regularly at Le Quecumbar in London and at The Paris House in Brighton.His latest album, Ninick, features Alan Barnes.Catch him now, before he leaves for a tour of Australia at the end of January.

Listen

The Remi Harris Trio

Soundcloud album preview

Adrian Cox

Little-Known Fact

Adrian was born and raised in Burgess Hill

Listen

Paper Moon

Live

Friday 17th JanuaryChichester Jazz Club

Saturday 18th JanuaryThe Verdict, Brighton

Learn More

https://www.facebook.com/

TheAdrianCoxQuartet

Multi-talented Adrian C o x per forms on clarinet, alto saxophone as wel l as vocals. His quar te t w i l l be performing around Sussex this month to promote the release of their new album.The Adrian Cox Quartet features Nils Solberg on guitar, George Trebar on double bass and Mez Clough on drums.

mingus underground octet

Mark Bassey : trombone David Beebee : piano

Milo Fell : drums Martijn van Galen : trumpet

Rob Leake : baritone sax Sam Miles : tenor sax

Terry Pack : bass Andy Pickett : alto sax

THE BRUNSWICK,

HOLLAND ROAD, HOVE www.thebrunswick.net SUN 2nd FEBRUARY 8pm £7

Radio programmes

There’s some great jazz to be heard on Jazz FM:

Helen Mayhew presents Dinner Jazz, 7-10pm

Mike Chadwick presents The Cutting Edge, Sundays 10pm-midnight.

http://www.ukjazzradio.com

The Modern Jazz Show with Peter Slavid is one of the best shows on UK Jazz Radio.There are also other Contemporary Jazz shows such as Europe Jazz Nordic Sound with Jesper Graugaard and UK and Europe Jazz Showcase with Brian SoundyAlso worth a listen are Women In Jazz with Verona Chard and Vocal Zone with Juliet Kelly.

DAB digital radiowww.jazzfm.comSky channel 0202

Freesat 729Jazz FM smartphone app

FM radioDAB digital radio

http://www.bbc.co.uk/radio3BBC iPlayer

Jazz On 3, Mondays 11pm-12:30amMon. 6th Jan. Black Top and Laura JurdMon. 13th Jan. The Claudia Quintet and Mopo

Jazz Line-Up, Saturdays 4-5pmSat. 11th Jan. 2014 Preview

Jazz Record Requests, Saturdays 5-6pm Alyn Shipton plays listeners’ requests.

Geo(ey Smith’s Jazz, Sat. evenings at midnightSat. 12th Jan. Cannonball Adderley

Radio Reverb 97.2 FM, Brighton

The Mystery LessonPlaying free jazz and improvised musicSunday 9-10pm

TrainspottersAn eclectic mix of genres, some jazzMonday 1pm, Wednesday 6pm, Friday 2pm

Ears Wide Open‘Jazz and Obscurity Skanks’Wednesday 7-8pm

Shows are often repeated during the week. Check website for details:http://www.radioreverb.com

http://www.npr.org/music/genres/jazz-blues/

NPR have a fantastic collection of radio broadcasts, including Piano Jazz with the late Marian McPartland and JazzSet with Dee Dee Bridgewater and live broadcasts and recordings from the Newport Jazz Festival.

www.jazzradio.comor iTunes Radio

JazzRadio.com have 31 different stations covering different genres and instruments, including Avant Garde, Bass Jazz, Bebop, Bossa Nova, Gypsy Jazz, Hard Bop, Straight Ahead, Trumpet Jazz, Vibraphone Jazz and Vocal Jazz.Although largely presenter-less and commercial free, these stations rely on automated playlists.

PodcastsThe Brighton Jazz School Podcast

So far Wayne McConnell has interviewed local jazz musicians Paul Richards, Dave Drake, Terry Pack and Steve Thompson along with international stars Geoffrey Keezer, Joey Calderazzo, Joe Locke, Cathy Segal Garcia, Christian McBride, Gary Burton and Kurt Elling.Recent editions of the podcast feature pianists Ahmad Jamal and Eric Reed.

A future podcast will feature an interview with bassist Ron Carter.

http://brightonjazzschool.com/episodes/

iTunes

The Jazzwise Podcast

The Jazzwise Podcast is a monthly podcast linked to the content of Jazzwise magazine for that month.

Hosted by editor Jon Newey and presenter Chris Philips, the show plays music from the featured artists as well as music from the review section of the magazine.

http://www.jazzwisemagazine.com

iTunes

The Jazz Session Podcast

Jason Crane, a jazz fan and saxophonist f rom Massachusetts, began The Jazz Session in 2007 and went on to interview Sonny Rollins, Gary Burton, Ron Carter, Christian McBride and numerous others.

Thanks to a Kickstarter campaign, The Jazz Session returned on 1st October 2013 with an interview with saxophonist Lee Konitz.

The most recent edition features an interview with baritone saxophonist Shirantha Beddage

http://thejazzsession.com

iTunes

You Tube ChannelsJazz Video Guy

Jazz at Lincoln Center

Jazz Video Guy, aka Bret Primack, is a former Downbeat journalist and filmmaker who co-founded the first jazz website, Jazz Central Station, back in 1994.

The Jazz Video Guy channel now has more than a thousand videos and nearly 25 million views.

Highlights include the Hal Galper Piano Masterclasses and the short documentary Who Is Sun Ra?

The Jazz at Lincoln Center channel features lots of behind-the-scenes interviews in segments entitled In The Studio, as well as performances in The Jazz Vault.

Frankly Jazz Television

The Frankly Jazz TV show was broadcast in Los Angeles in the 1960s and featured presenter Frank Evans interviewing some of the big names in West Coast jazz.The channel was started by his son, Lance Evans, in memory of his father’s contribution to jazz.

Verdict Jazz

If you want to see highlights of the gigs that you’ve missed or simply want to re-live a gig that you’ve been to at The Verdict in Brighton, this is the place to go.

S imon Spi l let t ’s 20 minute version of Softly As In A Morning Sunrise.

Social Assassin by Jim Hart’s Cloudmakers Trio

American magazine Jazz Times has a variety of short video inter views on its You Tube channel, mostly with musicians from the Newport Jazz Festival and the annual Jazz Cruise

Jason Moran talking about jazz education

Bassist Christian McBride giving advice to aspiring musicians

www.jazztimes.com

JazzTimesVideos

www.verdictjazz.co.uk

Dorian Grey, possibly not his real name, has numerous great videos posted, including live performances f rom Oscar Peter son , Joe Henderson, Freddie Hubbard, Sonny Rollins and more.

Freddie Hubbard with Dizzy Gillespie, Woody Shaw and Kenny Garrett playing I’ll Remember April

Dorian Grey

Listings

The Dave Drake Trio perform at The Verdict in Brighton on Saturday 11th January.

Photo: Dave Drake by Mike Guest

Don’t be disappointed

If you are traveling a long distance, contact the venue before setting out, in order to confirm that it is still going ahead.

Details are assumed to be cor rect a t the t ime o f publication.

Keep the noise down

Please remember to switch off your mobile phone and other mobile devices.

And don’t talk during the bass solo (or any solo for that matter).

Nothing is free

Gigs that are advertised as free mean that they won’t charge at the door, but the musicians will be paid by the venue who rely on income from the bar and/or kitchen.Please support artists and venues by buying a few drinks, and maybe having something to eat.

Be on time

The times listed are those given by the venue. This is normally the start time so you will have to get there about 30mins beforehand to get a seat and settle down.

Highlights

When should I clap?

When you’re the only one clapping, it’s time to stop.

Thursday 9th January

Joss Peach is the guest pianist at The Ancient Mariner with bassist Nigel

Thomas and drummer Dave Trigwell.

Friday 10th January

Jim Mullen appears at The Verdict with his organ trio to

launch their new CD, Catch My Dri!.

With Mike Gorman on organ and Matt Skelton on drums.

[R] = Residency

The listed performer plays there regularly (but may not be there every week) and may have special guests.

Tuesday 7th January

Virtuoso guitarist Remi Harris appears with sax/clarinet player Ian Price with Steve Aston on rhythm guitar and George Trebar on double

bass.

Saturday 11th January

Pianist Dave Drake returns to The Verdict for a one-off gig with his trio before he returns to New York. With

Shane Allessio on bass and Jay Davis on drums.

Gig Listings

The Brunswick JamThe Brunswick, Hove8pm Free [R]

Remi Harris/Ian Price-Gypsy JazzJazz Hastings8:30pm £8 (see highlights)

Kjell Berglund & Terry SeabrookThe Snowdrop, Lewes8-10:30pm Free

Jazz Jam with One Hat TrioThe Bee’s Mouth, Hove9pm Free [R]

Jack Kendon + GuestsThe Bristol Bar, Brighton8pm Free [R]

Scott Hamilton Quartet with Steve BrownSmalls, Brighton8pm £14

Joss Peach, Nigel Thomas, Dave TrigwellThe Ancient Mariner, Hove8:30pm Free [R](see highlights)

Katy O’Neill Trio + JamThe Verdict, Brighton8:30pm Free [R]

Liane CarrollPorters Wine Bar, Hastings9pm Free [R]

Jim Mullen Organ TrioThe Verdict, Brighton8:30pm £12/9(see highlights)

Steve Aston Gypsy JazzThe Office, Brighton8:30pm Free [R]

Imogen RyallQueen Victoria, Rottingdean2-5pm Free [R]

Steve Aston Gypsy JazzThe Paris House, Brighton4-7pm Free [R]

Dave Drake TrioThe Verdict, Brighton8:30pm £5/4(see highlights)Steve Aston Gypsy Jazz

Three Jolly Butchers, Brighton3-6pm Free [R]

Gypsy JazzThe Hand In Hand, Brighton8:30pm Free [R]

Lawrence Jones All StarsLion & Lobster, Brighton8-10pm Free

Gig Listings

Imogen Ryall & Terry SeabrookThe Snowdrop, Lewes8pm Free

The Brunswick JamThe Brunswick, Hove8pm Free [R]

Adrian Cox QuartetChichester Jazz Club7:45pm £11 (see preview)

Christian Brewer/Mark EdwardsThe Verdict, Brighton8:30pm £12/9

Steve Aston Gypsy JazzThe Office, Brighton8:30pm Free [R]

Adrian Cox QuartetThe Verdict, Brighton8:30pm £10/8 (see preview)

Imogen RyallQueen Victoria, Rottingdean2-5pm Free [R]

Steve Aston Gypsy JazzThe Paris House, Brighton4-7pm Free [R]

Jack Kendon + GuestsThe Bristol Bar, Brighton8pm Free [R]

Julian Nicholas, Mark Edwards, Nigel Thomas, Dave TrigwellThe Ancient Mariner, Hove8:30pm Free [R]

Katy O’Neill Trio + JamThe Verdict, Brighton8:30pm Free [R]

Liane CarrollPorters Wine Bar, Hastings9pm Free [R]

Steve Aston Gypsy JazzThree Jolly Butchers, Brighton3-6pm Free [R]

Gypsy JazzThe Hand In Hand, Brighton8:30pm Free [R]

Lawrence Jones All StarsLion & Lobster, Brighton8-10pm Free [R]

On The Horizon

Friday 24th January

Violinist Ben Sarfas plays at The Brunswick, Hove

Future gigsMore details to follow in the next issue...

Friday 7th February

Jazz boy band Empirical perform at the Dome, Brighton

Jazz at The Ancient Mariner, Hoveevery Thursday

January 23 Imogen Ryall, vocals

Terry Seabrook, pianoNigel Thomas, double bass

January 30 Ian Price, saxophones /clarinet

Terry Seabrook, piano Nigel Thomas, double bass

The Verdict, Brighton

Friday 24th JanuaryNigel Price and Vasilis

Xenopoulos

Saturday 25th JanuaryThe Outlanders

Friday 31st JanuaryBen Castle and Bryan Spring

Saturday 1st FebruarySam Miles Quartet

Jazz Hastings

Tuesday 11th FebruaryBen Castle and Mark Edwards

Chichester Jazz Club

Friday 7th FebruarySavannah Jazz Band

Sunday 2nd February

Mingus Underground plays at The Brunswick, Hove

Venue GuideAll Saints Church, The Drive (corner of Eaton Road), Hove BN3 3QE Tel. 01273 733331Barney’s Cafe/Bar, 46-56 Portland Rd., Worthing, West Sussex BN11 1QN 01903 527075Casablanca Jazz Club, 3 Middle St., Brighton BN1 1AL Tel. 01273 321817Charles Dickens, Heene Road, Worthing, West Sussex, United Kingdom. BN11 3RG Tel. 01903 820972Chichester Jazz Club, Pallant Suite, 7 South Pallant, Chichester PO19 1SYCoach and Horses Arundel Road, Worthing Tel. 01903 241943Forest Row Jazz Club, The Forest Row Social Club, End of Station Rd, Forest Row, RH18 5DW Tel. 01342 822856Hand In Hand, 33 Upper St. James’s St., Brighton BN2 1JN Tel. 01273 699595Jazz Hastings, The East Hastings Sea Angling Association, The Stade, Hastings TN34 3FJ (near Jerwood Gallery and the Lifeboat Station) Tel. 01424 250221Lion & Lobster, 24 Sillwood St., Brighton BN1 2PS Tel. 01273 327 299Patcham Community Centre, Ladies Mile Road, Brighton BN1 8TAPorters Wine Bar, 56 High Street, Hastings TN34 3EN Tel. 01424 427000Queen Victoria, 54 High Street, Rottingdean BN2 7HF Tel. 01273 302 121Smalls, The Caxton Arms (basement), 36 North Gardens, Brighton BN1 3LBSteyning Jazz Club, Steyning Centre, Fletchers Croft, Church St., Steyning BN44 3YBTel. 01903 814017The Albion 110 Church Road, Hove, BN3 2EB The Ancient Mariner, 59 Rutland Road (off Portland Rd.), Hove BN3 5FEThe Bee’s Mouth, 10 Western Road, Brighton BN3 1AE Tel. 01273 770083The Bristol Bar, Paston Place, Brighton BN2 1HA Tel. 01273 605687The Brunswick, 1-3 Holland Raod, Hove BN3 1JF Tel. 01273 302 121The Bugle, 24 St. Martins Street, Brighton BN2 3HJ Tel. 01273 607753The Denton Lounge, Worthing Pier, Worthing Tel. 01903 218 250 The Dome, Church St., Brighton BN1 1UEThe Hare & Hounds, 79-81 Portland Road, Worthing BN11 1QG Tel. 01903 230 085The Mesmerist, 1-3 Prince Albert Street, Brighton BN1 1HE Tel. 01273 328542The Office, 8-9 Sydney Street, Brighton BN1 4ENThe Old Market, 11a Upper Market Street, Hove BN3 1AS Tel. 01273 201801The Paris House, 21 Western Road, Brighton BN3 1AFThe Plough, Vicarage Lane, Rottingdean BN2 7HD Tel. 01273 390635The Ropetackle, Little High Street, Shoreham-by-Sea, West Sussex, BN43 5EG Tel. 01273 464440The Snowdrop Inn, 119 South Street, Lewes, BN7 2BU Tel. 01273 471018The Verdict, 159 Edward Street, Brighton BN2 0JB Tel.01273 674847Three Jolly Butchers, 59 North Road, Brighton BN1 1YDUnder Ground Theatre, (below the central library), Grove Road, Eastbourne BN21 4TL White Horse Jazz Club, White Horse Smokehouse & Grill, 23 High Street, Steyning, BN44 3YE Tel. 01903 814084

Add your gig to the listings: sussexjazzmag@gmail.com

The Credits

Photography CreditsA special thanks to Mike Guest for allowing The Sussex Jazz Mag to use his photos.Cover photo courtesy of Jim Mullenp.2 courtesy of Terry Seabrookp. 6 courtesy of Jim Mullenp. 8 courtesy of Jim Mullenp. 9 courtesy of Jim Mullenp. 17 & 18 courtesy of Remi Harris and www.remiharris.co.ukp. 19 courtesy of Adrian CoxBroadcasters and Education logos courtesy of the respective organisations.

All publicity photos and thumbnail images are used under the fair use terms of Copyright Law.

EditorCharlie Anderson

Sub EditorEd Nowlark

Regular ColumnistsEddie Myer, Terry Seabrook, Wayne McConnell

Technical DirectorSteve Cook

Public Relations & MarketingCarmen & Co. and Dave Hill

Photography ConsultantMike Guest

Financial ConsultantChris Sutton

THE SUSSEX JAZZ MAGIssue 10

6th - 19th January 2014

www.sussexjazzmag.com

https://www.facebook.com/TheSussexJazzMag

https://twitter.com/SussexJazzMag

Next IssueA new look Sussex Jazz Mag

with previews of Nigel Price, Ben Castle and Mingus Underground

Our Core Principles

1. To promote jazz in Sussex

2. ! To make a positive contribution to the local jazz scene

3. ! No cover price - The Sussex Jazz Mag will always be free

4. No print - The Sussex Jazz Mag will only be available to download or view online

5. No corporate advertising. Just local people and local businesses.! !

6. ! Everyone makes mistakes - we aim to correct any serious errors/omissions asap

7. No staff freebies - no blagging free tickets, CDs, drugs, instruments etc.!

8. No bitching or back stabbing (Why can’t we all just get along?)

9. No bragging and showing off. (Okay, maybe just a little.)

10. I can’t think of a tenth one and nine is an odd number...

FROM THE EDITOR

Contact Us

ListingsIf you would like to add your event/gig to the listings section in The Jazz Mag then please email sussexjazzmag@gmail.comwith the subject heading ‘LISTINGS’.

SubscriptionsIf you would like to subscribe to The Jazz Mag visit www.sussexjazzmag.comand complete the sign up form to subscribe or alternatively you can email sussexjazzmag@gmail.com with the subject heading ‘SUBSCRIBE’.

Comments & LettersPlease email sussexjazzmag@gmail.com

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Subscribers and Download:Sunday 19th January

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