FRIDAY 4 - SUNDAY 6 JULY
GLYNDE PLACE near BRIGHTON
Exciting times for the Love Supreme camp as they announce the first wave of artists who will be flocking to the green fields of Glynde Place to play round two of a summer Festival that has been dubbed the ‘British Jazz World’s Glastonbury’.
Bringing together household names, jazz stars, the 'Best of British' and acts you can party the night away to, here's the list of whom you can expect to see so far across the weekend:
Jamie Cullum | Laura Mvula | Gregory Porter | Soul II Soul | Dave Holland's Prism | Christian McBride Trio | Snarky Puppy | Curtis Stigers | Courtney Pine | Alice Russell | Jose James | Derrick Hodge | Hidden Orchestra | Polar Bear | The Computers | Cecilia Stalin | Chloe Charles | Laura Jurd | Ollie Howell Quintet | Jazz FM’s Funky Sensation
Tickets are available from lovesupremefestival.com and start at £110 + bkg for the weekend or £55 + bkg for the day. Family & VIP ticket packages are also available.
Pat Metheny Unity Group‘s new album Kin (←→) is out now!
Pat Metheny Unity Group's new album Kin (←→) is out now! Here's what the critics are saying:
‘These pieces are closer to the romantically inclined, soaring melodicism of the Pat Metheny Group, yet retaining the energy of the Unity Band. It’s a craft duality that makes for this album’s appeal from an artist whose musical curiosity remains undiminished as he approaches his 60th birthday.’ (**** Jazzwise)
‘The album takes guitar-led improvisation to new aesthetic, Metheny’s eloquent guitar etching a kaleidoscope of sonic hues.’ (**** MOJO)
‘For guitarists every new Pat Metheny album is a major event, but the shock-haired American has outdone himself with this one.’ (**** London Evening Standard)
‘The arrangements and recording are immaculate. In modern jazz terms, a masterclass.’ (**** Q Magazine)
‘By adding Guilio Carmassi to his current quartet, Metheny has brought lush colour to a band that gloried in tight, telepathic interplay. For latecomers to Metheny’s wide oeuvre, the Unity Group is a great place to start.’ (**** BBC Music Magazine)
‘A set of twist-and-turn, genre-crossing sagas themed on notions of kin.’ (**** Financial Times)
‘Astonishing. Another envelope-pushing opus from a pathfinding musician whose talent doesn’t recognize boundaries.’ (**** Record Collector Magazine)
Tuesday 20 May | Norfolk & Norwich Festival*
Friday 23 May | BRISTOL Colston Hall
Tuesday 27 May | GATESHEAD Sage Gateshead
Wednesday 28 May | MANCHESTER RNCM
Thursday 29 May | LONDON Union Chapel
Friday 30 May | BELFAST Crescent Arts Centre Saturday 31 May | BIRMINGHAM Town Hall
We're excited to announce that tickets for Phronesis' upcoming UK tour will go on sale on Friday. They'll play London's iconic Union Chapel on Thursday 29 May amongst other national dates in support of their forthcoming album Life To Everything - the stunning live recording bought to life in last years EFG London Jazz Festival. The Telegraph have hailed the trio ‘the most electrifying experience to be had in British jazz’, so be sure to book tickets fast.
*This date goes on sale on Wednesday 5 March as part of Norfolk & Norwich Festival.
An ECM Records double-bill of jazz guitar masters
EGBERTO GISMONTI + RALPH TOWNER
Thursday 27 February, 7.30pm
£17.50 - £25 + bkg from barbican.org.uk
Virtuoso pianist and guitarist, and a seminal figure in contemporary Brazilian culture, Egberto Gismonti is the composer of an extraordinary body of music, reflected in a long association with ECM Records. His charismatic solo performances meld uplifting, exuberant rhythms with heart-stopping melody.
'A tour de force' **** (The Guardian)
One of the most distinctive guitarists in contemporary jazz, Ralph Towner plays the opening set. A creature of texture and lyrical sophistication, Towner is a master of delicately poised atmosphere – sensuous and lyrical balanced by a muscular rhythmic tension. His most recent ECM album is Travel Guide with fellow guitarists Wolfgang Muthspiel and Slava Grigoryan. He’s worked with luminaries such as Gary Burton, John Abercrombie, and is a founder member of the charismatic world jazz quartet Oregon; but his solo performances carry an evocative quality rare in today’s music.
'The absolute master of establishing a particular mood or atmosphere with a mere gesture…..in his hands, the guitar acts like a prism, dispersing a myriad of timbres and endless inflections.' (Jazzwise)
A towering figure in British jazz, his career stretched back to the early days of bebop and modern jazz in the UK – a startlingly original pianist, whose love of Duke Ellington and Thelonious Monk came together in a style that was instantly recognisable as entirely his own. In years of playing piano with a procession of first division American soloists when he was house pianist at Ronnie Scott’s through the 1960s, he became admired as a master improviser, whose solo prowess transcended notions of nationality and background. In subsequent years, collaborations with soloists of a younger and more radical generation – Trevor Watts and John Stevens, Keith Tippett, John Surman, Evan Parker, Louis Moholo – proved that the great jazz musicians can create extraordinary music in any setting, without compromise, and without losing anything of their musical identity. Whatever the context, you always knew it was Stan Tracey at the piano…..
But it was his talent as composer and band leader that arguably made even more impact – in the 1960s, his haunting and evocative suite, inspired by Dylan Thomas’ “Under Milk Wood”, marked a crucial point in the evolution of jazz in the UK, as artists in this country developed distinct identities of their own, out of the African/American traditions of the music. Stan’s witty and eloquent themes, and the richly textured qualities of his big band writing, were – and remain - a massive inspiration to successive generations. Whether for small or large group, he continued to compose new music right up to his final years, the creative muse still hard at work.
On a personal note, I first heard Stan play live with Roland Kirk at Ronnie’s sometime in the 60s (some experience, albeit at an age that I probably shouldn’t have been there….), and I first worked with him way back in pre-Serious years, back in the 70s. “The Bracknell Connection” was the first piece of music that I ever commissioned, for the long-gone Bracknell Jazz Festival. After all these years, and after many other concerts with various Tracey-led bands of all shapes and sizes, this first encounter with Stan’s talents stays in the memory as something I’m very proud to have been associated with.
Stan was scheduled to play a special concert on the last day of this year’s EFG London Jazz Festival, revisiting his 1978 collaboration with John Surman, and performing his latest suite – “The Flying Pig”.
In the event, he was too ill to perform – of course, it couldn’t be the same without Stan, but the sheer energy of the music shone through in magnificent style, with Surman joining the band led by Stan’s talented son, Clark, long his father’s drummer of choice. An occasion tinged with concern and perhaps, a sense of premonition. But one that reminded us all – audience, musicians and Festival team alike – of the uplifting qualities of Tracey’s music, and that this was an artist who commanded enormous respect and affection.
Stan often looked faintly embarrassed when he was referred to as the Godfather of British jazz – his natural reticence balanced by a dry sense of humour. However reluctant a godfather he might have been, his reputation and importance reaches out, not just in the UK, but worldwide. Sonny Rollins – one of the many American jazz soloists who benefitted from Stan’s consummate playing at Ronnie’s during the 60s, and remained a long-time friend, asked at the time – “does anyone here know how good he is?”. He was then…and he still is……
On behalf of Serious and the EFG London Jazz Festival