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ONE LP PORTRAITS: MUSICIANS: @SCARBOROUGH JF15

  • {quote}It's Oliver Nelson’s 'Blues And The Abstract Truth’. I love it mainly because the music is so wonderful but also because they take the two basic elements of Jazz which is the blues - and I got rhythm, and Nelson's writing is so magnificent it kind of transforms these very basic forms and the quality of the musicians he employs on there - Freddie Hubbard, Eric Dolphy, Bill Evans - they're just so superb they bring to the music a life and a vigour that's life affirming and really rather wonderful.{quote}Alan Ross: The Spa Scarborough, 27th September 2015Olive Nelson: The Blues and the Abstract Truth released 1961Jazz House Records, Leicester
  • {quote}Well, it's Charlie Parker on Dial and it's a particular Spotlite LP of those classic Dial records with, you know, 'Embraceable You' ... 'Scrapple from the Apple' and those immortal bebop things. And the point is that I actually remember going into a listening booth in a Hemel Hempstead record shop and hearing this stuff for the first time - back in the fourteenth century..... I wouldn't say I understood it or even enjoyed it - but I knew I'd just stumbled into Aladdins cave. I knew there was something there and I went and I bought a Charlie Parker LP on spec and I listened to it until it made sense, and that music has stayed with me and inspired with me ever since.{quote}Alex Webb: The Spa, Scarborough, 26th September 2015Charlie Parker: Charlie Parker on Dial  released 1970Spotlite RecordsAlex Webb
  • “It's a Cannonball Adderley record called 'Things Are Getting Better'. And I guess the reason it's so special was I had been taking lessons when I was in High School with a friend of my band director who was a saxophone player who had just moved back from New York.  And he had an amazing record collection and he would loan me records to listen to each week, but that record was like the first jazz record I bought literally and I ordered it through the mail and I was just so excited and I just remember like waiting for days - and it seemed like months before it came but I remember we were sitting down at dinner and the bell in the door rang and I knew it was the delivery of the record and I remember just jumping up from the table and going and getting it and just - I don't know something about the act of opening the package and holding you know - it was like one of my first records you know that was mine.  And there's a picture of him and you know he's holding the horn out in front of him and so the horn looks huge.  And it's just a great record you know and I listened to it every day for months you know and yeah - just loved it.”Chris Cheek: The Spa Scarborough 27th September 2015Cannonball Adderley: Things Are Getting Better  released 1958Chris Cheek
  • “Herbie Hancock's ' My Point Of View', which was his second album as a leader. He was only 23 when he made it and one of the things I like about it is you're able to hear Herbie sort of right at the beginning of his career just as he started playing with Miles - and how exciting that is. There's everything, well everything is pretty fully formed for him. It's also a great example because he, in his first album and in his second album, didn't play any standards - which I love playing- he just played original music which, I think, he was encouraged to do by Blue Note. They could have just got him to record an album of standards but instead they encouraged him to do some of his original music, and that's one of the reasons why it's such a classic album. Also, like his first album, he had players of different generations on there. So Hank Mobley's on this album,  like Dexter Gordon was on his first album. And also it's got a very , sort of, wierd rhythm section that works but with Chick Israels and Tony Williams who, I don't think, ever played together in any other scenario, it sounds great.Anyway it's one of my favourite records - one of the first records I ever got.”Barry Green, The  Spa, Scarborough, 27th September 2015Herbie Hancock: 'My Point Of View'  released 1963Barry Green
  • When you first mentioned it I thought 'Oh my gosh' after all the many years of listening to music it's a real struggle to like pick one album out.  And my top two was Stevie Wonder's 'Songs In The Key Of Life' and George Benson's 'Weekend In LA' - and I'm a massive George Benson fan, and 'Song's In The Key Of Life' - I think it would be that album Stevie Wonder's 'Song's In The Key Of Life', Motown 1976.  It's just an absolutely amazing album. What I love about it is thematically, musically and also in terms of the lyrics and the themes - just amazing.I think the story behind in terms of - from what I've read - when Stevie approached Mr Gordy and said 'Look, I want to do this album..dah..dah..dah.. ' and he wasn't sure about it - which is natural when you think about the commercial, the economics .......  he said 'alright give it a go'. Went over budget but he decided that he would go with it and he hasn't looked back since, you know.That album is a ground breaking album and it's had a major impact on me in so many different ways.  The social messages from it - the social conscience messages, the humongous skill levels, in terms of the musicians - just amazing - the whole concept - fantastic, absolutely, yeah.  So that would be the worlds greatest album for me.{quote}Ciyo Brown: The Spa, Scarborough, 26th September 2015Stevie Wonder: Songs In the Key of Life   released 1976Ciyo Brown
  • {quote}Well actually when you introduced the project, I thought - 'I could really work at this - and that would be too much of a challenge!' Or I could just go with what popped into my head, and a very interesting one did. It's 'Out There' by Eric Dolphy. And the reason I think it was a very influential album for me was the instrumentation really. The unusual sonority of cello, bass, bass clarinet - when he played bass clarinet or flute, when he played flute and a little bit of alto but, you know, the changing around - and the cello.So no chord playing instruments as such but just the way those instruments resonated with each other and the way of playing in the kind of post BeBop style - but nothing very formal . You now when I talk about the instruments you might think of it as sounding more like one of the more formally arranged West Coast jazz things that were kind of in that third stream pocket or something - but it wasn't at all. It was actually very New York, it was a bit odd, a bit scratchy - Ron Carter on cello - playing and so forth. But it had tremendous time and feel and it created a sound Universe for me beyond what I thought of as the instrumentarium - the sound universe of straight ahead jazz and yet it didn't sound like a classical cross over kind of thing - like the things that you know - my father was doing with Leonard Bernstein or even Gunther Schuller. It was its own space. 'Out There'  really influenced me to try and find those spaces myself.{quote}Darius Brubeck: The Spa, Scarborough, 27th September 2015Eric Dolphy: Out There  released 1960Darius Brubeck
  • {quote}Ok, I've thought long and hard about this and I thought to myself actually it would be Courtney Pine's 'Journey to the Urge Within', which was his first album that came out when I was at school. I'd been dabbling with a little bit of jazz at the time, I hadn't really had any idea about being a jazz musician and I think on hearing that album and hearing him playing that music live was the thing that kind of inspired me.  The thought 'You know actually I could do that too'.  So it holds a very special place in my heart as an album that kind of made me make the difference between deciding to be an engineer or being a musician.{quote}Denys Baptiste: The Spa Scarborough, 26th September 2015Courtney Pine: Journey To The Urge Within released 1986Denys Baptiste
  • {quote}Well mine is a Louis Armstrong tape that I got from the charity shop just as I kind of started getting into jazz and doing the festivals.  I picked it up for about 20p I think and my car still has a tape player in it so I get to make the most of all these bargains.  And it's probably about 10 years ago now and this tape has stayed with us and played and played.Me and my husband used to play it a lot together and now we listen to it with our children now all the time.  And I think we did a journey the other week that was three hours and we listened to it straight the whole way - just all the way round and they never asked to take it off - so it was great!{quote}Hannah Lutkin: The Spa, Scarborough, 27th September 2015Louis Armstrong: Music For The MIllionsLouis Armstrong
  • {quote}It's Coltrane - 'Live at the Village Vanguard'  - the one from '61.  And, you know, it's special because when it came out I think he was constantly blowing everybody's mind but when he brought this out he blew everybody's mind!And you know - and their mother and father and grandmother, you know (laughs).  He just rewrote the whole thing - playing the saxophone like that and leading the band like that was never done until that record.  That was the template for like hot modern jazz from the 60's, you know, and up until now.  It's for me that's the height of the music you know and nobody has gotten that kind of playing to that level as yet, in my opinion you know. that's just - it's all - you know - it's one persons opinion - so a lot of people might disagree you know.  So, but that's it - that's why.  And it's what he's doing with the blues - what he's doing with the modal thing that he got from Miles - it's where he was taking it.  He was taking it elsewhere you know.  He was just going into all the different places that we who followed is attempting to continue and develop and go into there, you know, but him, Elvin, Jimmy Garrison and McCoy Tyner they were doing that in 1961 you know.  They started that ball rollin' for me, you know, and that's why I love it.{quote}Jean Toussaint, The Spa. Scarborough, 26th September 2015John Coltrane: Coltrane {quote}Live{quote} at the Village Vanguard  released 1962Jean Toussaint
  • {quote}I bought this LP when I was a student in London, so that would be in the late 60's.  And when I went to college I took my record player and my vinyl and it played loud all down the corridor and all my mates at college thought it was the most awful stuff they'd ever heard in their entire life - but I've always loved close harmony singing and that's what this record is all about.  It's four wonderful male voices and five trombones and nothing else at all.  And for me it was the beginning of enjoying jazz and I still love it.{quote}Marian Gordon: The Spa, Scarborough, 27th September 2015Scarborough Jazz Festival
  • WE - “Miles - so kind of you - to come up with an album.”MD - “It's a pleasure.  It's a great idea what you're doing.  My dad would be like - over the moon - 'cos without like his record collection I wouldn't be standing here right no - so - that's how that continues through.It's Red Garland's 'Piano' which is a trio album from Red Garland - that's also very very classic album.  I love Red Garland cos it's like music to make love to, it's not music to intellectualize about - it's really groovy.  and there's another album called 'Groovy' and there's another album called 'Reds Good Groove'.  that's - he was - that's why Miles Davis hired him.  So like if you know the Miles Davis Quintet in mid 50's 'Working, 'Steaming', 'Relaxing' - it's the same rhythm section.  Paul Chambers, my favorite bass player, Art Taylor one of my favorite drummers and Red Garland for sure one of my favorite pianists and the trio is unbelievable.  And the other story about that is they recorded at Rudy Van Gelder's house in Hackensack New Jersey and so now if you look at what Rudy did is that you've got like - 'Working, Steaming, Relaxing' and the trio - it's the same band minus the horn players.  So they'd finish a gig upstate New York, Miles would have some pretty young thing on his arm.. he's drive back to New York.. - yeah and he'd be like 'I'll see you at 12 at Hackensack' - and the other guys - the rhythm section would just go straight to Hackensack pick up some booze and things, some food - and then Rudy Van Gelder had camp beds.  You know those old army camp beds.. canvas? He had those out and a primer stove and Red Garland used to cook the guys food in the studio right.  Drink some whiskey and then about 4 - 5 - 6 in the morning the guys would start playing and Van Gelder would be like 'Oh man I've got to go to bed we've got a session at 11 o'clock - so look record and play and when the tape runs out don't worry about it - just put a new one on right?'  That's how those albums were recorded.  So when you listen to those albums it's late night guys who've already had done a good night's work - this is for them and it really comes across. That's why I love those albums.{quote}Miles Danso: The Spa Scarborough, 26th September 2015Red Garland: Piano released 1957Miles Danso
  • {quote}As a youngster this was one of the first records I heard that got me seriously into jazz music.At the time it was mainly because of the groovy inventiveness on the tracks 'Footprints' and 'Freedom Jazz Dance.'As I grew older more other elements of the whole album captivated me and it continues to right up to today. In every listen I hear something new. Like all of the '60s Miles Quintet albums this one is full of creativity, risks and innovative spontaneous composition/improvisation techniques. Not too long ago I heard some of the alternate takes and the band rehearsing on the session for this album. You really get to truly hear masters at work.{quote}Shane Forbes: The Spa, Scarborough, 26th September 2015Miles Davis: Miles Smiles  released 1967Shane Forbes
  • “It's the Gerry Milligan and Chet Baker album. The very first one they made together in the early 1950's - it was the album that made Chet Baker the star - put him on the map. And I love it because it was really unusual. Gerry Mulligan was the ideas guy, was doing lots of arranging. He'd just been working with Miles Davis. And he didn't have a piano in his band so there was nothing in the rhythm section apart from bass and drums and then he was playing baritone sax and Chet was playing trumpet. Chet didn't really read music - he wasn't a theorist - but somehow they just instinctively just worked together. So things like Bernie's Tune and there's that solo and they were all just weaving in and out together. It's - ahh- its sublime and so, yeah, it's the thing that really does it for me. Makes me feel like a bit of a dinosaur - cos - oh I love 1950's music. But it's - yeah - it's what does it for me. It's laid back, it's quiet, it's not in your face. It's just beautiful.”Sue Richardson: The Spa Scarborough 26th September 2015Gerry Mulligan: The Original Quartet With Chet Baker released 1998Sue Richardson
  • {quote}Brilliant Corners' by Thelonious Monk. Why this album is so special for me is because when I first heard it - it sounded all wrong but it pricked my conscience you know.The actual tune 'Brilliant Corners'  - I didn't understand it because it wasn't even and symmetrical like most standards are - or most compositions are. Very quirky and the strongest link all his compositions was the melodies you know; the strong sense of melody and time - and the feel - and dissonance. So, that was the album for me and that really got me into jazz and made me.... kind of like think.... this is what I want to be when I grow up.{quote}WE  So, it's through the intrigue of the album almost?TK   Yes yes - absolute intrigue. 100% total intrigue. When I first heard it I didn't like it but then when I investigated I realised that it challenged me and so I went for that challenge and start learning about Monk and studying Monk. So it was total intrigue, you know sometimes the thing that intrigues you most is the thing that grabs you, you know, the most - so Brilliant Corners is one.{quote}Tony Kofi: The Spa, Scarborough, 26th September 2015Theloniuos Monk: Brilliant Corners  released 1957Tony Kofi
  • {quote}Well the album is George Duke 'A Brazilian Love Affair'.  Now this album, it was amazing album when this was first released because if changed my perspective of everything.  It's a Latin based Brazilian style album and it just opened my eyes to that sort of music.  The musicianship on that album is amazing and listening to trombone players like Frank Rosolino, J.J. Johnson, Carl Fontana.  I was introduced to a trombone player called Roul De Souza, who played the valve trombone and it was the first time I've really heard the valve trombone and the solo was amazing - on the track - but the whole album was inspiring and that's all I can say.{quote}Winston Rollins: The Spa, Scarborough 26th September 2015George Duke: A Brazilian Love Affair  released 1979Winston Rollins
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