The Invisible get Brighton buzzing with Electric Miles: Miles Davis Through The 1970s

Take the current craze for mindfulness, add one pioneering jazz album, get a 400-strong audience to listen to it in silence, then bring them back to hear a key period of the artist's music brought to life by some of the most groundbreaking contemporary musicians around .... and you get an idea of one of the most anticipated jazz performances at Brighton Festival this year.

Festival Director and illustrator David Shrigley, responsible for bringing to Brighton the Played Twice: Kind Of Blue concept developed by Dalston venue Brilliant Corners, with this performance not only culturally juxtaposed two consecutive centuries in one afternoon, but also presented a giant prism through which rainbow rays of musical light by contemporary band The Invisible, introduced potentially new fans to the whole era of the electric recordings of Miles Davis.

Brought up on jazz, the Invisible introduced a modern spin on Davis' affectionate tribute "Billy Preston". The fresh and fiery dual drumming of Leo Taylor, alongside Steve Argüelles from the original John Taylor Trio, augmented by the intelligent accents of Tom Herbert's bass, drew whoops and cheers from the audience highlighting the improvisational free spirit in the air. Robert Stillman's delicate but assured soloing on tenor sax and bass clarinet, provided the true soul of the ensemble, with Byron Wallen's pulsating trumpet embodying its heart. Nick Ramm's cool Fender Rhodes tones characterised 'The Ghetto Walk', and, melding with Wallen's hot clarion call, brought one of the better-known Davis compositions of this era, 'Tutu', to dramatic climax, further imbuing 'Little Church', composed by Hermeto Pascoal, with occasionally supernatural atmospherics.

"Miles had so many influences," says bassist Tom Herbert, "... acts like Jimi Hendrix, James Brown, Cream ... that's what he was listening to!" Sure enough, the second set unfurled the deep funk, psychedelic and heavy rock elements intrinsic in guitarist and bandleader David Okomu's playing, morphing seamlessly into the jazzier musical direction Hendrix might perhaps have taken had he stayed around, as implied in his later albums.

Smiling and waving to an audience which refused to let them go, The Invisible encored with 'So What', 'Black Satin' and 'In a Silent Way', an inspired medley which, while infused with the players' own distinct flavour, also personified timelessness in its truest sense, just as Miles Davis would have wished.

Jasmin Sharif

Annie Whitehead’s Interplay bring Township sounds to Leamington

Given the background of trombonist Annie Whitehead and her involvement with African music, it came as no surprise that the concert at Leamington's Restaurant in the Park reflected this and the spirit of Dudu Pukwana, Hugh Masekela and Miriam Makeba was in the air. Her collaboration with bassist Adrian Litvinoff's band, Interplay, drew strong solos from all the musicians and their enjoyment was apparent throughout the evening, a feeling that transferred itself to the appreciative audience. All the material generated a freedom of expression and the opportunity for personal improvisation, but keeping within the compositional structure. This was demonstrated in works by Abdullah Ibrahim, Masekela and, suitably, trombonist Jonas Gwangwa, as well as Litvinoff's own engaging composition 'The Shuffle'. Saxophonist Alan Wakeman was on top form on both tenor and soprano, and on Ibrahim's 'The Mountain' he contributed a haunting flute solo. Pianist Neil Hunter used a highly percussive approach throughout, suitably appropriate for the music. But the use of two trombones in the front line was of particular interest, Richard Baker's straight-ahead playing complementing Annie's freer and more experimental style. This was especially noticeable on J.J.Johnson's 'Kenya', a tight arrangement of the soulful number from Johnson's Let's Hang Out album of the early 1990s, all three horns doing it justice, straight from the hip. The trombonists also combined well later by building a supportive platform, supplementary riffing when Litvinoff's bass was featured.

While Dave Balen laid down a firm township beat on many of the numbers, his approach reminds this writer of the melodic textures of Chico Hamilton, alternatively vigorous then deftly understated, according to collective requirements. His percussion skills were effectively used on an improvised duet with Annie, which was followed by a solo trombone tribute to the late Roswell Rudd.

On several numbers the band was joined by vocalist Letitia George; firstly singing jazz standards – Oscar Brown Jr's 'The Snake', Mingus/George Gordon's 'Strollin'' (recalling Honi Gordon's famous versions) and a heartfelt delivery of 'God Bless The Child' which justifiably elicited the applause of her fellow performers. Pianist Hunter showed what a respectfully sensitive and thoughtful accompanist he can be. Moving into Makeba territory, she then involved the audience in a lively 'Pata Pata' – exciting and engaging, like all the evening's music.

Story and photo – Matthew Wright

Phronesis, Sons of Kemet, Keyon Harrold and Cory Henry light up Transition Festival 2018 – Photo Diary


This April saw the third edition of the Transition Festival take place at TivoliVredenburg, Utrecht, Holland. This is one of the North Sea Jazz Festival's 'projects' and is organised in collaboration with TivoliVredenburg, with the festival providing a fresh look into developments within contemporary jazz and beyond, as well as highlighting some of the artists who have inspired the current wave of new bands within the genre.


Scandi-Brit band Phronesis (drummer Anton Eger, top, Ivo Neame anf Jasper Høiby above) during soundcheck with the New Rotterdam Jazz Orchestra performing a beautiful rendition of their latest album, The Behemoth.


Theon Cross (above) of Sons of Kemet providing some ground-shaking bass with his tuba.


Fiery saxophonist Shabaka Hutchings (above) playing melodic layers over a danceable blend of jazz, brass and dub with Sons of Kemet.


Dhafer Youssef (above) mixing Arabic influences with contemporary western jazz.


Hard-hitting Jaga Jazzist (above) proved they are still a live act to be reckoned with.


Lizz Wright (above) singing material from her latest album Grace – a stunning vocalist, Wright is always a pleasure to listen to her warm and deep vocals.


Pianist Cameron Graves (above) with his trio showing of their virtuosity on a set of jazz-rock fusion.


Drummer Mike Mitchell (also known from Stanley Clark's band, above) playing with Cameron Graves, going all-out as usual.


Cory Henry (above) and his Funk Apostles creating a party with a deeply soulful and funky set.


Trumpet player Keyon Harrold with his modern, electric take on jazz proved he is somebody to keep your eyes on for the future!

Photos and report by Peter van Breukelen

Sanborn Acoustic Band Sizzles With Brecker-Filled Bonanza At Ronnie Scott's


David Sanborn, who has perhaps the most distinctive and influential alto sax sound in contemporary jazz, R&B and funk, is now in his early seventies, but he's still full of surprises. As a sideman his CV is beyond stellar: names like George Benson, the Eagles, James Brown, Stevie Wonder, David Bowie and Bruce Springsteen pop out, and in the jazz world he's contributed mightily to work by Gil Evans, the Brecker Brothers, John McLaughlin, Ron Carter, Maynard Ferguson, Bob Berg just to scratch the surface. He's more than a unique player and a name-dropping exercise, however; his own albums down the years, often collaborations with Marcus Miller, are trailblazers of jazz funk, soul and blues.

But in his first set at Ronnie's he chose another direction. Gone were the regular Sanborn 'standards' like 'The Dream', 'Run for Cover', 'Lisa' etc, replaced by three Michael Brecker original compositions from the much-missed tenor sax giant's final Pilgrimage CD. Sanborn kicked off the set with Brecker's exciting 'Tumbleweed', trombonist Wycliffe Gordon taking Herbie Hancock's role in setting up the pensive half-step riff, and the band leader's squally timbre searing through the changes with his trademark chromaticism, split harmonics and blues references. The familiar face on drums was Sanborn and Dave Holland regular Billy Kilson, an electric, powerful presence throughout whose extended solo with its funk references, goofy facial expressions and exclamations, including a beautifully timed 'Really?' brought the house down. In fact the whole band played with a great sense of relaxation and humour; Sanborn even joking 'And I'm not even embarrassed' as he struggled to recall what was next on the setlist. It turned out to be Brecker's haunting 'Half Moon Lane'.

Billed as the Sanborn Acoustic Band, in place of regular electric bassist Andre Berry was double-bass master Ben Williams, whose touring profile took off notably when a member of Pat Metheny's Unity Band. His bounce, deep resonance and sheer funkiness meant Berry's slapping wasn't overly missed on the more groove-oriented tunes.
Sharing the frontline, the imposing figure of Gordon – a former Wynton Marsalis sideman – showed off great power and prowess on trombone, soprano 'bone, trumpet and one extraordinary almost sung solo purely on mouthpiece. His low-note facility and ability with cup and plunger mutes also grabbed the attention. On piano and occasional synths Chris Botti sideman Andy Ezrin added solos of great fluency and taste; and superb synth sounds on a West African take on Sanborn/Miller standard 'Maputo'. The set extended into overtime with a funky 'On The Spot'; Sanborn proving once again that in jazz, advancing years just means more time in which to have reaped the rewards of practice, not a decline in performance.

– Adam McCulloch

– Photo by Ben Amure

Greg Cordez Quintet bustle up at Bristol’s Wardrobe Theatre

The backstory: having written the music during a personally difficult year Bristol-based bass player Greg Cordez decided to recruit some of his favourite New York musicians to record it over there. The inevitable economic constraints, however, only allowed a single day for the project. The resulting album, Last Things Last, is a fine set of tunes in Greg's lyrical contemporary style, with notable soloing from guitarist Steve Cardenas. It remained to be seen, however, how his regular Quintet would develop the material live.

The gig: a capacity audience with a sizeable presence of younger people reflected the popularity of both Cordez as a college tutor and his promising support act Harvey Causon (a tutee). Shifting between electronica and indie-rock arrangements the three-piece band's short set of tightly constructed songs' repetitions and broken vocal textures recalled James Blake and others.

Cordez's own set warmed up with a couple of older tracks before tackling 'Low Winter Sun', a tune written the night before that NY recording session. The empathetic brass pairing of Get The Blessing's Pete Judge (trumpet/flugelhorn) and Jake McMurchie (tenor sax) captured the sense of nervous anticipation, their ambivalent dialogue progressing over a deceptively relaxed rhythm. By contrast, post-rocker 'Cherry V Des Moines' came from a more confident place, with McMurchie's increasingly rough-edged exposition matched by explosive drumming outbursts from Matt Brown. Steve Banks' careful solo guitar introduction to 'Last Things Last' evoked a plaintive Metheny-esque lyricism in a simmering piece whose haunting flugelhorn elegy felt like an unspoken tribute to Hugh Masakela.

The emotional richness of the new music was well nurtured in the ensemble playing, with Greg's own understated contribution emphasising his preference for keeping things together while leaving space for others. By the time they reached 'Figlock''s feature solo, with Steve Banks wandering through the psychedelic end of Bill Frisell territory, the bassist's continuing development as an astute composer was more than evident, firmly underlined by the strength and consistency of his accomplices.

Story and photo Tony Benjamin

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