April 25th, 606 Club- Queensland Relief Fund Charity Concert

PREVIEW: CHARITY CONCERT IN AID OF THE QUEENSLAND RELIEF FUND Trudy Kerr writes about a special event at the 606 Club on Monday April 25th

When Sophie Garner contacted me to tell me that she was organising a fundraising event for the victims of the Queensland Floods, I was touched.

I am a Queenslander, born and bred, but have lived in London for the past 20 years. It is hard to imagine the size of the area destroyed by flood in Queensland but indeed entire towns have been wiped out. (not to diminish the recent devastation in Japan where so many lives were lost) In Toowoomba they received 150 mm of rain in 40 minutes, creating an inland tsunami with 7 metre high waves. The water could not be contained by the dam that protects Brisbane, so the equivalent of two Sydney Harbours of water had to be released daily and this caused Brisbane to flood.

Although my immediate family were not affected, some of my relatives and friends have suffered from flooded homes and lost jobs. Also the beautiful Brisbane Jazz Club (above), the hub of live jazz in Queensland on the banks of the Brisbane River, was completely submerged by the flood and needs donations for a complete rebuild.

In true British style, with a heartfelt conscience for those less fortunate, many of the great UK singers and musicians have united to offer their services free of charge for the event at the 606 club in Chelsea. Steve Rubie at the club has also been extremely generous, offering his club for this special night too.

So, people of London, come to the 606 on Monday 25th April and please give generously to the Queensland Flood Appeal.

You will be entertained by this star-studded line up: -

Sophie Garner
Ian Shaw
Liane Carroll
Gill Manly
Natalie Williams
Georgia Mancio
Emma Blake
Kaz Simmons
Kerry Hodgkin
Polly Gibbons
Nia Lynn
Pete Churchill
Mark Fletcher
Janette Mason
Simon Little
Simon Wallace

There'll a song from me too, and with this kind of event, you just never know who might show up on the night. So come along and support!

More details on the 606 Club website. Admission £18

Sarah's Sector Seven

Regular readers of this site know Sarah Ellen Hughes from her accomplished writing.

She's impossible to dislike (why would anyone try?) she's a friend of this site, and a significant contributor. She's also a wonderful, International-Competition-Winning, singer. At the moment, part of her unstoppable energy is going into a new vocal ensemble project called Sector 7, which has an EP launch at the 606 Club next Wednesday 23rd at 7 30 pm. See you there?


Sector 7 website

UPDATE: Downbeat's 150 Best Jazz Rooms

UPDATE: HERE'S THE VORTEX PROUDLY DISPLAYING ITS BADGE!



(Back to our original story) Congratulations to four London clubs -

- Ronnie Scott's, Pizza Express Dean Street, 606 Club and Vortex -

all four appear in Febuary 2011 Downbeat's list of the world's "150 best jazz rooms." There are only 28 listed outside North America. (And on the subjects of jazz - and getting a room - the photo above was taken at Jazz Alley in Seattle, also listed by Downbeat, by Jenny Jimenez)

Your Dream Job is at the 606

Janet Mentzer from the 606 (photo above of Steve Rubie with Linley Weir and Jonty Fisher) has just sent out a great email. I've just copy-pasted the whole letter, firstly because it a great read, and gives a great insightinto life behind the scenes at one of London's great venues...but mainly in the expectation that this opportunity is going to make one LondonJazz reader's day:

Hi Friends and fellow jazz lovers

This is a general e-mail to say that I will be retiring from the 606 Club in March.

After many years of job satisfaction and pleasure, it's time for me to step back - or is it forward? I love the quote that Mike Ketley has on his e-mails "If we are doing something that we truly love we never work a day in our lives" - how true!

Musicians never retire and it has been a great privilege for me to be part of the evolving careers of some of the finest musical talent; the rehearsals, the gigs, the relationships established and children born. I love the respect that exists between the musicians, the camaraderie and the continuing artistic development within the jazz community. The 606 Club is instrumental in providing a platform and nurturing our musicians here in the UK.

No two days are the same at the 606 Club and I have huge respect for Steve at the helm. When I first joined the office it was in the basement with one phone, a computer and a dot matrix printer - I used to fax the monthly listings (some of you may remember) no e-mail!!!

We've moved on a pace big time since then, We are fully networked have a membership, musicians and PR data base (hence me e-mailing you), we send out a weekly e-letter, have a full coloured monthly programme and run and manage our own web site in house.

Multi-tasking is our speciality here. Rehearsals & filming at the Club during the day, restaurant bookings, private hire at night. Organising festivals, running the music agency, selling advertising and organising the monthly mail out of the gig guide, as well as maintaining our membership data base, updating the web site and keeping the good relationships we have with you guys who likewise are involved in the industry, supporting and loving the music - which is what it's all about! I have had so much enjoyment from knowing and working with you all.

We all give that little bit extra and over the years my job has kind of grown with me. Steve is taking the opportunity, with my departure, to re-organise the 606 Club office, so if you know of anyone who might be suited or interested to work here at the Club please do e-mail CV's to steve@606club.co.uk

Hope to see you all soon and at least before I leave – I’ll still be around.

Thanks for being there
Best Regards
Janet

Remembering Sir John, One Year On - UPDATED

Sir John Dankworth died on February 6th 2010, a year go this Sunday. He encouraged and lifted so many people in so many ways, the gratitude which our jazz community feels towards one of its own will be unmistakeable this weekend. There may be more events than these, please add a comment if I've missed one:

UPDATE Saturday 5th 10am : Dankworth Management have sent in this about a special JAZZ MATTERS at the Stables tomorrow morning at 1130am

Sir John Dankworth was not only a wonderful musician but also a kind and generous man who did much to promote Jazz in the UK. He launched JAZZ MATTERS for the amusement and education of the dedicated, curious or inquisitive jazz devotees.
It has been a year since Sir John Dankworth left us. This Jazz Matters gig is a tribute to John, who as you know was one of Britain's best-known jazz musicians, composers and commentators. The line-up features Sir John’s son (and leading bass player) Alec Dankworth and his long time associate, pianist John Horler, plus some of the great musicians who played with him during his illustrious career; Jim Hart (drums), Mark Nightingale (trombone) and Andy Panayi (reeds).
Adding a bonus to what promises to be a fantastic lunchtime performance Dame Cleo and daughter Jacqui will be putting in a guest appearance.


SUNDAY 6th: Frank Griffith's Nonet at JAGZ in Ascot

In his last years, when John was answering questions in public, he would often say. "I'm pretty sure there's someone in the room who knows my life story better than I do." Frank Griffith always did know the answers. On the day itself, Frank's nonet will be doing the lunchtime slot at Jagz in Ascot, a frequent haunt of close JD collaborator, the late Allan Ganley.

On the programme are Dankworth compositions: Why don’t you tell me why, It happens quietly and the love theme from the 1963 film, The Servant entitled All Gone. A top line-up including: Henry Lowther, Paul Clarvis, Mick Foster, Adrian Fry (who arranged many of JD’s pieces) and Frank Griffith .

http://www.jagz.co.uk/

MONDAY February 7th: Dankworth Memorial gig, 606 Club

At the 606 they are raising funds for Sir John and Cleo Laine's Wavedon Foundation, which "benefits both individual artists in need of financial aid, and organisations seeking support for music education projects."


On the bill are Alec Dankworth, John Horler, and special guests.

http://www.606club.co.uk/

TUESDAY February 7th, Radio 2, 7pm

Jamie Cullum 's show will be a tribute to JD, in the company of trombonist/ arranger/ close JD associate Bill Geldard. Geldard will: "speak about working with Sir John Dankworth. The show will include archive recording of one of his performances from the 1950s.

http://www.bbc.co.uk/programmes/b00r86v

Review: Theo Jackson

Theo Jackson Quintet
(606 Club, January 5th 2011, review by Sarah Ellen Hughes)

Vocalist Theo Jackson leads his band from the piano, with a confidence and assurance that comes from being a true musician, and the trust and knowledge that the other guys on the stand are too. He is the first to applaud (well, his hands are occupied on the keys so by 'applaud' I mean 'acknowledge by exclaiming') altoist Nathaniel Facey's solo. These guys gel together well. It may be a young band - it was in fact Theo's 25th birthday, and the rest of the band range from 24-29 - but there is maturity in their grooves and in their respect and understanding of each other.

Unfortunately, Theo was clearly struggling with some of the high notes - perhaps the remnants of a winter cold playing havoc with his performance. Nevertheless, where he's let down in power and range, he more than makes up for in tone and vocal dexterity. He's got a beautiful voice. It's well-controlled with a casual jazz vibrato, and a pop-y flexibility. It's a satisfying sound.

Theo is clearly a talented writer and instrumentalist, as well as musician and performer. However, not one of the tunes is arranged to exploit the instruments at his disposal which I feel is a wasted opportunity.

The highlight of the first set for me was Charlie Parker's Confirmation. Not necessarily for the vocal - a charming delivery but not accurate enough in diction or intonation to be convincing (although saved once again by that gorgeous tone shining through). No, this is where the band went to town.

Guitarist Jamie McCredie was a most thrilling soloist. I wish he'd had a mic to capture his singing, as it certainly looked like he was scatting along perfectly to his own solo. Nathaniel Facey proved exactly why he was the worthy recipient of the Worshipful Company of Musicians Young Jazz Musician's prize a few months prior. And let's not forget Theo Jackson at the piano. He modestly tells me that he's not a pianist. But his well-worked solos develop logically, being both thoughtfully-crafted and dexterously-impressive, and above all making sense, without resorting to flashy finger-wiggling.

During this tune they traded 8s between instruments which was great fun. The only thing lacking was the tremendous applause for a stunning drum solo which Jason Reeve had worked hard for and would have deserved.

I introduced myself to Theo during the interval and it was clear that he had actually lost his voice. He didn't complain to the crowd about it - the only reference while singing was during Devil May Care where a growling voice finished off this 1950s bop standard with all the gruffness of a 90s rocker. "I'm quite enjoying this raspy thing," he said before singing the last 2 bars. That’s a pro at work!

Drummer Jason Reeve really shone in this tune too, echoing licks and responding musically to the soloists as well as exploring the whole kit and a range of styles in his own too-short solo.

Other memorable moments were You Saved Me, a lilting 5/4 giving bassist Philipp Moll a chance to weave a lyrical solo. He's been impressive throughout. Tired drew its inspiration from a hopeless teenage crush on a music teacher, and Pat Metheny's Minuano allowed this band to exploit the groove that is clearly their forte. A brave encore finished the night off well.

I can't wait for the full-throated show, to see what Theo Jackson is really capable of.

Celebrating Jim Mullen

There's probably no better place to find genuine warmth on a bitterly cold December evening than the 606, and no better occasion to savour it than the birthday gathering of a universallly liked and respected figure in British jazz, guitarist Jim Mullen (photo : Jeff Hardcastle/creative commons).

Jim Mullen inspires affection. A number of people who had hoped, expected to be there had found themselves and their trains and cars completely snow-bound. Nevertheless Matt Skelton had been able to assemble - in secrecy - an impressive line-up. A quadruple bill, no less.

A first set from Henry Lowther, Dave Cliff, Dave Green and Stu Butterfield had been and gone by the time I arrived. But the second. with Jim Mullen's organ trio with Mike Gorman and Matt Skelton was pure pleasure. Mullen's gentle way with the melody of You've Changed was special, beautiful poetic. There's always a sense of line, a feeling of being unhurried, and of having something meaningful to say with every note. And final cadenza, bringing the whole band to a millimetre-perfect landing was memorable. But their is also inner strength in Mullen's playing. The final number was Mike Gorman's Smokescreen, a fast and furious 5/4 dispatched with ease, energy and a robust swagger.

After the arrival, and the eating, of a massive birthday cake - a picture will appear here in due course ! - the third band of the night was Mark Nightingale on trombone, with much to enjoy in the contributions of Graham Harvey on piano, Mick Hutton bass and Ian Thomas, drums. Mullen joined them for a delightful and serene Stars Fell on Alabama, and an energetic Straight no Chaser.

The fourth set brought Bosco Oliveira and Curtis Stigers to the stand. Reports please???

Great to be reminded of the particular kind of warmth, affection and good humour that comes from the bandstand, and from the strong beating heart of a community of talented and dedicated people. It's what a cold climate needs.

Preview: Chris Garrick Flight Mode CD Launch

PREVIEW: Flight Mode by Chris Garrick
(CD Launch at the 606 Club, 30th November 2010, Preview by Tim Woodall)

Flight Mode (Fly), the new album from top jazz violinist Chris Garrick, is dominated by ‘5-way Suite.’ In this 23-minute programmatic piece, running over five tracks, Garrick leads his rhythm section on a merry dance of moods and styles, switching between acoustic and electric fiddle with ease, and generally displaying his own special brand of high-wire improvisation and compositional flair. Each movement has its own title and corresponding mood. ‘Pigeon Among the Cats’ is suitably mischievous, and Garrick delives both a surprise, and a contrast with what has gone before, with the final piece: ‘When We Wake Up We’ll Be Somewhere Else’ is the most delicate of ballads.

Speaking to me ahead of the London launch of Flight Mode at 606 Club on Tuesday (Nov. 30th), Garrick referred to this latest recording with David Gordon (keys), Ole Rasmussen (bass) and Tom Hooper (drums) as "the most personal sort of project I do". As a much sought-after session musician and sideman – he comes to the capital following a tour with John Etheridge – Garrick cherishes his solo recordings as an outlet for ambitious music like ‘5-way Suite’. "As I play a lot of more traditional music of one sort or another, it’s nice to also keep the contemporary side up," he says.

This is the first album Garrick has recorded with this group of players since Firewire five years ago, but the quartet has been developing this new music over some time, and it shows. "It’s great to log another chapter with the guys" he says. As well as the new suite, the new record features a couple of standards, including a hard-driving adaption of ‘It Ain’t Necessarily So’ ("trying to squeeze something new out of a well known piece," is how Garrick puts it), and compositions by Garrick and current and former band members. With a magnetic groove that motors towards a breakneck finale, ‘June’, by former Chris Garrick Quartet pianist Pete James, is a particular highlight.

One new innovation on Flight Mode is Garrick’s use of a newish seven-stringed Jordan fiddle. "It’s a specific animal and is only useful for special occasions," he explains. "It’s very well designed, but it’s a question of using it only when it fits with the music." Apparently, Nigel Kennedy told Garrick that he personally wouldn’t play anything more than a five-string, but for Garrick the range of the instrument gives it appeal. "In a solo piece, it’s amazing to be able to go down low," he says. It’s a typical standpoint to take for a musician who, unlike Kennedy, is an improviser first and a virtuoso second.

It will be interesting to see how a through-composed piece like the ‘5-way Suite’ will play out in 606, how far Garrick and Co. will stray from its neat architecture. Either way, I'll wager that plenty of copies of Flight Mode will be shifted post-show.

Tim Woodall runs the Culture Capital blog