Jazz may be the ‘music of the moment’, but there’s always more to the moment than just the music.
Sometimes the noise comes from the musicians themselves. We’re used to hearing the likes of Monk humming and grunting along with his playing, providing a commentary on the music. Or – taken to extremes - Keith Jarrett’s vocal jabberings, which have sometimes threatened to overwhelm his piano playing. Ellington and Mingus famously shouted directions and encouragement to their sidemen. And there’s even a recording of Duke playing Lotus Blossom while the band relax and pack their instruments after recording the Strayhorn tribute album, though the din dies down once everyone realises what’s happening
Often it comes from the audience – and not just applause at the end of a piece or after a solo. Miles Davis’ rubato theme statement of Stella By Starlight in his 1964 Philharmonic Hall concert builds such a tension that the hear-a-pin-drop silence of his audience is memorably shattered and the tension released when he drops into time accompanied by a long, loud ‘aaargh!’ from an enthusiastic listener in the hall. That shout, captured on record, remains a vital part of the music – you can’t imagine it without it.
Of course, crowds are not always enthusiastic. The unrepentant folkie who, on Bob Dylan’s 1966 UK tour, yelled ‘Judas’ when the singer appeared with electric guitar and highly amplified Band unwittingly contributed towards one of Dylan’s strongest, most vitriolic performances. In the 40 years that have passed since, Dylan’s never recaptured that adrenalin level and commitment. If only they’d recorded live music in 1913 – the premiere of Le Sacre du Printemps would be a fascinating collectors’ item, though maybe not one we’d often choose to listen to.
Club and radio announcers are all familiar to jazz collectors and add a sense of time and place. In other words: atmosphere. In recent times it seems like Pee Wee Marquette, the much-loved shrill-pitched MC at Birdland, has been sampled as much as Art Blakey. The apotheosis of ambience was reached in John Cage’s piece 4’ 32’’ where the only sounds are whatever the audience happens to hear while a pianist sits in front of an unplayed piano.
Last July Kate Westbrook mounted an exhibition of her paintings in Falmouth. A Steinway grand was also installed in the gallery and Mike Westbrook was able to play all day. He turned on his digital audio tape recorder and, as well as the music played, snatches of conversation and footsteps from visitors to the gallery, carillon bells, seagulls and passing cars from outside have been captured, mastered for CD by Steve Lowe, and given the title The Piano in the Room on the Street.
And in the foreground, Mike’s improvisations, bluesy, contemplative, quietly adventurous, bridging the gap between bar-room and academy… and where better to do this than an art gallery? We get Jimmy Yancey, Bessie Smith, and Westbrook. The music has space – which gives plenty of opportunity to absorb the noises off – but it’s not ‘easy listening’. It relishes dissonance and builds complex harmonic structures which challenge the listener and mould the blues framework to Westbrook’s unique musical landscape. Mike’s unduly modest about his piano technique. The fact remains, his take on the blues is original and immediately recognisable. What more could one ask?
Actually, if the recording is to be released as an album, there is one thing that would make the package complete, and that would be the chance to view Kate’s paintings while listening to this music. Maybe it could be issued as an enhanced CD with graphics files of the exhibits.
The Dean
Sand Dunes by Kate Westbrook:
charcoal on paper 2006 (345 x 557 mm.)
See more of Kate's work on her Gallery site
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The long weekend of June 9th to 11th was spent in glorious sunshine in North Devon to the sounds of three Westbrook concerts courtesy of the North Devon Festival to whom we offer many thanks. The Friday evening commenced with a performance by The Westbrook Trio at the Queens Theatre in Barnstaple. There was as usual something old, something new and something blue but as ever with Mike’s writing and arranging even the old favourites are refreshed. Music from Kurt Weill and Bertholt Brecht featured in the first set beginning with a lovely version of September Song followed by a dramatic Pirate Jenny and then Surabaya Johnny and the Sailor’s Tango. Mike then picked Wild Cyclamen North of Rome from the banks of the Streams of Lovely Lucienne, this being a wonderful interpretation by Chris Biscoe. The set ended with Wasteground and Weeds a very interesting old Westbrook composition, which was new to us. The second set included Thessaloniki Silver Screen and another great Biscoe feature based on Bessie Smith’s Young Woman Blues. The set concluded with a medley of Friedrich Hollaender songs beautifully sung by Kate. These included Love and Infatuation, The Moon’s Our Home and You Leave Me Breathless. This last piece had every one on top form with a superb intro from Mike (acknowledged at one point by a triumphal flypast of seagulls) and exquisite vocals and saxophone to end a very enjoyable evening.
After a rest day Sunday broke bright and early with a free concert in the Barnstaple Pannier Market at a local craft exhibition from Midday until 2 pm. This was our first encounter with the new Village Band and what a treat it was. Part of the band’s considerable repertoire consists of reworked music from the Brass Band .It was really good to hear these pieces revitalised. Despite the fact the most of the band are semi professional they are excellent players who are very talented and inventive. They played a varied selection of originals plus some Basie, Ellington, Morton and Monk. In the evening the Village Band reassembled at the Red Lion In Chulmleigh, a delightful small Devon hill top town. We were treated to more from the extensive pad plus a performance of The Waxeywork Show,a new piece written for this group. The witty lyrics by Kate were complemented by Mike’s music which, being written especially for these players, showed them at their very best.
A great weekend was had by all and, like one of those Devon favourites, its basis was a well mixed light and airy scone with some new ingredients topped with great jamming and lots of musical cream.
Thanks for the pleasure of tasting it all.
Graham and Nohline Ruff
The long-awaited re-appearance of the Brass Band classic MAMA CHICAGO, to be reissued on Jazzprint, is scheduled for early in 2007. The precious master tapes have been brought out of storage at the British Library, courtesy of sound archivist Paul Wilson and are currently being baked in Nottingham by Dallas Simpson prior to CD mastering.
Paul explains:
“The MAMA CHICAGO tapes are on Ampex 456 tape which suffers from ‘sticky binder syndrome’. This stems from a fault in the original tape coating formulation, which results in the coating absorbing moisture from the atmosphere over a period of years. When you then try to play the tape the adhesive sticks to the tapehead and brings the oxide off with it. However, this is not fatal. The tapes need to be dried out in an oven at a low temperature - about 56 degrees - for about eight hours. You might need to do them twice. Do not attempt to play the tapes until they have been dried.”
We wish Dallas a successful bake and look forward to sampling the results in the New Year.
Mike & Kate Westbrook
‘Jazz in the Gallery’, Main Gallery,
Falmouth Arts Centre, Falmouth, Cornwall.
Friday 30th June 2006
This intimate concert from the Duo was held on a gorgeous sunny evening in the room where Kate is currently holding her latest exhibition of paintings, charcoals, pastels & gouache artwork, called Eye of the Beholder.
So we have in this lovely room a beautiful Steinway piano, a couple of microphones, Kate’s artwork, the audience and of course Mike and Kate.
The evening started in splendid form with a large variety of tasty canapés being distributed to all. This I reckon should be a compulsory item at all future Westbrook concerts. This prelude to the evening was followed by a wonderful set from Kate & Mike. Starting with September Song; swiftly followed by Pirate Jenny. I’d personally not come across this one in the Westbrook repertoire before. A wonderful tale of skulduggery, stolen ships, debauchery and death in a run down coastal hotel of sorts. (Sounds like my recent cruise liner holiday !!! ) The Brecht/Weill Surabaya Johnny & Sailor’s Tango followed the nautical theme. These songs and others during the concert were punctuated by the outside cry of local nesting seagulls as the windows were open in this hot balmy evening. These external noises seem to enhance the tales being lyrically spun by Kate and somehow even kept in harmony with Mike’s playing. Cornish musical seagulls, now there’s a first, if ever. Mike then performed a couple of lovely solos on the Steinway Prelude to a Kiss and Sophisticated Lady. The first half was then brought to close with Thessaloniki Silver Screen and Wasteground and Weeds.
All then embarked downstairs to the cosy cinema whereupon Jazz on a Summers Day was shown—a fabulous eighty-five minute snapshot in glorious Eastman colour of the 1958 Newport, Rhode Island Jazz Festival, directed by Bert Stern. Loads of jazz icons featured, too numerous to mention here.
There was more to come. Upstairs again to the main gallery, a short refreshment break, and then another set from the Duo. Mike seemingly influenced by the film soundtrack led with a superb bluesy instrumental to set the atmosphere rolling, we then heard London Song from the Blake songbook; their uniquely individual version of Love For Sale and Lush Life by Cole Porter. Then a heavenly blues based piano instrumental based around Young Woman’s Blues. Those ever tuneful neighbourhood seagulls joining in the background to great effect. The finale of Hollaender songs followed Love or Infatuation; You’ve Got That Look; the truly ever gorgeous You Leave me Breathless and The Moon’s Our Home. The perfect end to a perfect evening. Mike and Kate came back for an encore to send us home with On the Beach. Appropriate songs for an appropriate venue.
John Pegg
