Fast emerging saxophonist Helena Kay is set to release her debut album, Moon Palace, on 7 December on Ubuntu Music. Kay's trio features bassist Ferg Ireland and drummer David Ingamells on originals inspired by the leafy streets of Muswell Hill, north London on 'Strawberry Terrace' and the sights and sounds of New York's Greenwich Village on 'Perry Street', alongside a solo rendition of Hoagy Carmichael's ballad 'Stardust' and a quirky arrangement of Charlie Parker's 'Kim'.

The album is launched at The Vortex, Dalston on 12 December with further dates at the following venues: Whiskey Jar, Manchester (10 Dec); Flute and Tankard, Cardiff (11 Dec); Jazz at the Future Inn, Bristol (13 Dec); The Verdict, Brighton (15 Dec); Ashburton Live (16 Dec); North Devon Jazz Club (17 Dec); Ronnie Scott's Late Show, London (18 Dec); Cherry Reds, Birmingham (19 Dec); The Jazz Bar, Edinburgh (20 Dec); St Matthew's Church, Perth (21 Dec); The Blue Arrow, Glasgow (22 Dec) and The Lescar, Sheffield (9 Jan 2019).

Mike Flynn

For more info visit www.helena-kay.com

Jazzwise is pleased to share the video for 'L and D' here:

BLG-2

A wet afternoon in the 'Big Smoke' is brightened by a quip about the 'Windy City'. Ben LaMar Gay describes the latter, Chicago, as 'country' to the former, London, the urban sprawl. He then invites the audience at an impressively full matinee to be part of an ongoing transatlantic exchange that has already seen him and fellow Chicagoans Makaya McCraven and Jamie Branch work with young Brits in the past year or so.

The cornet player-electronicist-vocalist is here with his own quartet rather than local guests and there is a crackle of anticipation in the room at the prospect of him playing material from Downtown Castles Can Never Block The Sun, an album compiled from seven previously unreleased sets of music. All of which makes the point that the Chicagoan is nothing if not productive, but the sound palette he creates with a very cohesive band shows that quality matches quantity. Sat at a table with a couple of consoles for effects and beats, Gay, his distinctive red cap and dark blue jacket giving him the allure of an industrial revolution factory worker, channels the resources around with impressive aplomb. The combination of the digital drone and drag of his programming, the brooding rumble of Matthew Davis's tuba and the understated but penetrating flicker of Tomasso Moretti's drums makes for an enticing canvas upon which colours can be splashed. Will Faber's guitar is a vivid pastel in the mix, its precise, aqueous arpeggios enhancing the flow of the arrangements without flooding the upper or middle range. Gay's brass pierces the air with a stark, melancholic beauty steeped in a far-reaching lineage of significant horn players that would include anybody from Roy Eldridge to Don Cherry. Yet, as the set unfolds, there is a more distinct resonance of Chicago in the 1990s and millennium, typified by Tortoise, that permeates the music, which builds a solid bridge between the dark undercurrents of dub and hip-hop and the light-and-shade of improvisation. Lines loop and motifs mutate, as the 21st century artist's border crossing and time travelling gain steady traction, pushing Gay to the AEC axiom of 'Great black music: ancient to future'.

His understanding of that heritage comes into focus in a few thrilling moments that send a notable tremor of excitement around the room. Firstly, he reaches for a melodica and plays the most charming, chugging riffs that vaguely recall the great Hermeto Pascoal's singular Afro-Brazilian meta-modernism. The child-like brightness makes for a fine contrast to the breathy moan of Sirotiak's bansuri flute. Secondly, Gay launches into a funky hybrid of rapped and sung choruses over a riveting, zigzag cowbell beat that underlines the Latin subtext. There is a spark in this sign-off that confirms Gay as 'country boy' who is more than a match for the big city.

Kevin Le Gendre

Photos by Jim Aindow

Archie Shepp06

The Enjoy Jazz festival is currently celebrating its 20th anniversary, presenting gigs between three main cities in south-western Germany. It's an extended season that usually begins in early October, stretching until mid-November. Each night features a show in either Heidelberg, Ludwigshafen or Mannheim, sometimes with simultaneous happenings in each location.

This year's artist-in-residence is the veteran saxophonist Archie Shepp, and his first showing was at the Mannheim National Theatre, with an expanded crew revisiting his Fire Music album, from way back in 1965. Being his second release for the Impulse! label, a certain amount of free jazz was surely promised, rather than the more mainline style that Shepp has favoured during recent decades. We were not disappointed, as this eight-piece crew (including Hamid Drake on drums) set out to capture the essence of the original contents with a surprising closeness of spirit and style.

Drake (bells, mallets) and bowing bassist Darryl Hall laid sparse improvised terrain for Shepp's recital of 'Malcolm, Malcolm, Semper Malcolm', followed by a pointed, overblowing solo on soprano saxophone, precise spikes driven in. The old LP's key track, 'Hambone', wasn't quite as complicatedly careening, here, but Shepp's four-piece horn section certainly made a dynamic negotiation. He ripped straight into a tenor solo at high velocity, and Shepp's hornmates looked visibly enamoured of their grand master's inflamed efforts. Drake made lightning snicks and clatters, and regular sideman Carl-Henri Morisset issued a forceful piano statement. Trombonist Sebastien Llado led a bluesy slowing down, and 'Los Olvidados' didn't take long before letting Shepp fly again, with a tough, racing tenor solo. This is an 81-year-old who's not short on stamina.

As with the album, following the three more adventurous pieces, the set's remainder inhabited standards-land, but still involving a few quirks. The reading of 'The Girl From Ipanema' was one of its free-er outings, and Shepp wasn't rationing out his solos. He sang with a croaky, vulnerable tone on 'Prelude To A Kiss', and ended the show with an extra tune, 'Syeeda's Song Flute', a Coltrane number covered on Shepp's Impulse! debut.

In Heidelberg, there were two contrasting gigs at Karlstorbahnhof, an intimate arts venue. The Vincent Peirani Quintet adopt a jazz-rock fusion attitude, though without too much over-electrification. The leader's significant left-hand man is soprano saxophonist Emile Parisien, who pretty much qualifies as a co-leader, so profound is his contribution. For a while, during 'Bang Bang' and 'Unknown Chemistry', he was restrained, but then embarked on his first soprano salvo of the session, swiftly escalating, feet beginning to pixie-prance and side-kick uncontrollably. Peirani's first significant solo was on a chunky chromatic harmonica, but his accordion spotlights would be saved for later in the night. The quintet gave 'Kashmir' a slow build-up, initially unrecognisable, then releasing its full riff, following a snaking Parisien solo. Fractured Rhodes hacks followed, and then a transition was made into 'Stairway To Heaven', this Led Zeppelin celebration being among the most exuberant parts of the performance.

On a more internalised level, The Necks pleasingly offered two sets (and therefore two extended improvisations) at the same venue – often, if appearing at a festival, they'll only play one, so this was a good chance to hear alternate manifestations of their epic-form extemporising. The first set was almost traditionally jazz piano trio in nature, until Chris Abrahams snagged onto a two-note repeat, with snail elaboration, Tony Buck limited to cymbal and small gong, softly resonant, until he added a scrunching metal texture. A blurry shimmer loaded up, Lloyd Swanton's bass alternating between bowed murmurs and sensitive finger-strums. The sombre, blood-red lighting was sympathetic, with slow growth into a saintly white glare. The second Neck-ing began obsessively, Buck deciding on a repetitive hand-drumming figure, on floor tom, fast and unbroken, until he clutched first one shaker, then another. Abrahams had both hands in the middle of his keyboard, amassing a Reichian blur of adjacent sonorities, a sonic mirage shaping, and the number finishing with him alone, as if his delayed entrance gave him some bonus time to conclude.

Over in Ludwigshafen at Das Haus, another well-sized arts haunt, the guitar, bass and drums trio Radian visited from Vienna, though they've been well-schooled in Germanic electro-rock approaches for around two decades. Their basic structure blooms outwards and across via a stack of processing boxes and pedals, splintering, fracturing, glitching and dispersing. Their edges were often brutal, but they also paused to release gaseous clouds of contemplation.

Enjoy Jazz continues until 16th November...

Martin Longley
Photo by Manfred Rinderspacher/Enjoy Jazz 

 LorraineBaker

Lorraine Baker recorded one of the season's freshest sounding releases with her Eden project, dedicated to exploring the unique legacy of maverick New Orleans drum supremo Ed Blackwell. As Blackwell was a relatively infrequent composer, she's picked selections from the back catalogue of his many illustrious employers – in particular artists like Mark Helias and Don Cherry, whose work explores the interface between groove, melody and freedom. Tonight's set kicks off with a solo intro from bass guitarist Paul Michael that bears a faint family resemblance to Stanley Clarke's 'School Days'; Baker leans into the kit, absorbed in the complex polyrhythms that were a Blackwell speciality, drawing all the colours out of the toms and cymbals, and Binker Golding lets fly with the first solo of the evening, his brawny tenor mixing some R&B inflections in among the hip modern language. Next it's guest John Turville on keys, showing why he's the first call for so many unusual cross-genre projects; his playing awesomely fluent, sensitive and imaginative, unbounded by cliche. Helias' 'Thumbs Up' gets a lively reading, and Cherry's 'Guinea' sees the band really getting into their stride, with Golding absolutely tearing it up and a wonderful, fleet-fingered solo from Michael full of elegant phrasing.

LorraineBaker 3.LWorms

The second set starts with Charlie Haden's 'Chairman Mao' – a pulsing one-note bassline sets the stage for wide-ranging explorations from Golding and Turville, before evolving into a groove akin to Herbie Hancock's 'Butterfly' – Karl Berger's 'Dakar Dance' features more bubbling polyrhythms with Michael assisting on extra hi-hat to allow Baker to roam free on a complex, melodic solo. This is a vision of groove-based jazz that doesn't feel obliged to eschew either melody or occasional forays into harmonic depth; the clattering, chattering drive of the kit, locked in with Michael's bass guitar, is at the heart of each track, but Baker is also a sensitive player and never swamps the soloist. Golding is best known for his commanding, strident duo act with Moses Boyd; a ravishing duet between him and John Turville on Helias' 'Pentahouve' shows his rarely revealed lyrical side, and his breadth and depth as a player is evident throughout.

All the band play the eclectic, unfamiliar material with total commitment and aplomb and Baker's playing, and her vision for the project, show a distinct personality. It's all the more unfortunate that the attendance on this dark, rainy November night is so skinny, and all the more impressive that the band still manage to deliver this exciting music with such conviction. The set closes with another joyous Cherry composition – 'Mopti''s uplifting Afro lilt sends those lucky enough to attend out into the night well satisfied.

– Eddie Myer
– Photos by Lisa Wormsley 

The 37th edition of what is a key date on the European jazz festival calendar does not want for ambition. Or tradition. Over four days Tampere's 'happening' strikes an enviable balance between current events in improvised music and the underlying roots whence they spring, which is brilliantly epitomised by a show-stopping ovation-winning gig by French double-bassist Henri Texier (above). He is on stellar form.

The septuagenarian leads Sand Quintet, the latest in a long line of dynamic small groups, and Texier's immense life experience as well as talent – as a youngster in Paris he played with Bud Powell, no less – pours into music that has fine solos and interplay, but retains a melodic richness akin to the richest folk music. The themes, often haunting laments, are memorable and strong resonances of non-western music, particularly North African and Indian, colour much of the material, none more so than the classic Texier composition 'Amir', which adds to the anthem-like character of the set. In the large Pakkahuone concert hall the band achieves a club-like intimacy.

Interestingly, Texier makes a point of acknowledging the 'sixth member' of the quintet, sound engineer Charles Caratini, who has been mixing the bassist's work for years, and the question of aural attention to detail and adventurous sonic manipulation surfaces throughout the festival. Technology is something of a running theme among the three bands from Austria, the country Tampere has chosen to showcase this year. Trumpeter Mario Rom's Interzone has darkly atmospheric pieces steeped in the mist of his reverb-laden brass; Elektro Guzzi transfers house and techno grooves to a guitar-led trio, while Kompost 3 has a new take on a patented fusion vocabulary. All of the above engage a lively audience at the smaller standing venue Klubi, which is a smart fit for the obvious dance implications of what they do.

4 ghost-note 4537m

American ensemble Ghost-Note (above) takes that one step further. The Snarky Puppy splinter group led by drummer Robert Searight and percussionist Nate Werth is an ear-poppingly funky proposition that strikes a chord with the crowd from the downbeat. It is the latest iteration of a model that includes such as Headhunters, Tower Of Power and Groove Collective, insofar as the horns and rhythm section are in a state of near-constant effervescence that makes for a climb-the-walls ambiance. Another US artist with a direct connection to pop culture is trumpeter Josef Leimberg, known for his work with Snoop and Kendrick Lamarr, among others. Shaped by edgy backbeats and trippy modal vamps his set has fine moments, above all Tracy Wannomae's sax solos, but the whole isn't greater than the sum of the parts, and suggests Leimberg is a work in progress. The work is interesting, though.

With regard to artists coming into their own after many years at the coalface British saxophonist Denys Baptiste's Late Trane project (pictured below) goes down a storm and Finnish drummer Olavi Louhivouri excels with The Net Of Indra, which is a supergroup consisting of two Euro jazz legends, his compatriot saxophonist Juhani Aaltonen and Swedish double-bassist Palle Danielsson. The quartet is completed by the excellent Norwegian trumpeter Eivind Lenning, who shines in a setting where Ornettish themes alternate with lengthy unaccompanied solos. Coleman's influence can also be heard in other Finnish groups such as Maxxxtet who play the homely restaurant Telakka, just opposite the concert hall.

5 denys baptiste trane 5184m

Showcasing Finnish bands is an important part of the festival's remit and a roof-raising performance from Mopo, a tremendously likeable trio with a knack for blending zestful danceable tunes with expressive improvisations, is a TJH highlight. The lively ensemble, which features baritone saxophonist Linda Fredriksson, is joined by special guest, multi-reedist Mikko Innanen, her former tutor, who broadens the tonal and rhythmic palette of the music, creating the novel spectacle of a twin baritone frontline at one point. Arresting sounds of a different order fill the air when the mighty Art Ensemble of Chicago plays a set in which Roscoe Mitchell's no-compromise soprano explorations are dominant. But the searing lament 'Odwalla's Theme', with which the band closes, gets audience members swinging in their chairs. Emma Salokoski & Ilmiliekki Quartet's sublime folk-based set also has the crowd swooning, but the sense of congregation achieved at Tampere Jazz Happening is well in tune with the civic life of the city.

It is the sauna capital of the world, a fact enjoyed by visiting musicians, some of whom happily avail themselves of the cosy cabin backstage at Telakka. Furthermore, the city is growing in stature on the festival circuit and will have the honour of hosting WOMEX 2019.

Kevin Le Gendre
– Photos by Maarit Kytöharju

For more info visit www.tamperemusicfestivals.fi/jazz and www.visittampere.fi visittampere.fi

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