Issue 20 - The Sussex Jazz Mag

The Sussex
Fortnightly Issue 20 Monday 26th May - Sunday 8th June 2014
Simon D’souza
After the recent passing of Simon
D ’s o u z a ,
Wa y n e
McConnell writes his tribute to the
much-loved saxophonist, composer
and educator.
We talk to Swedish jazz vocalist Cecilia
Stalin who appears at the 2014 Love
Supreme Festival in July and whose album
S t e p L i k e A G i a n t i s i n s p i r e d b y Jo h n
Plus an interview with guitarist
Jason Henson, columns by Eddie
Myer and Terry Seabrook together
with reviews and listings for gigs in
The Sussex
Monday 26th May - Sunday 8th June 2014
click or touch the blue links to go to that page"
The Column:
Eddie Myer
The Jazz Education Section
Improv Column:
Terry Seabrook’s Jazz Tip No. 10
Simon D’souza
100 Saxophones Rides Again
Cecilia Stalin
A Guide to
Learning Jazz in Sussex
Jason Henson
Reviews &
Live Reviews
Jazz Listings
Mon 26th May - Sun 8th June
Radio Programmes
You Tube Channels
TV Programmes
Venue Guide
On The Horizon
Contact Us
Saxophonist Simon D’souza with bassist Eddie Myer"
at The Brunswick Jazz Jam in Hove, 2011.
photo by Mike Guest
The Column: Eddie Myer"
Playing on the Barricades
Whatever your own particular political persuasion,
you should perhaps be grateful to the motley crew over at
UKIP for galvanising widespread interest in the upcoming
Euro elections, a poll most of us have traditionally been
happy to ignore completely. Now that their lead in the polls
has translated into election results despite their candidates’
own best efforts to shoot themselves in the unreconstructedly
chauvinistic feet, perhaps we may even see a productive
reaction set in and initiate a return to the heady days of the
1980s when politics were seen as a matter of general interest,
like football, and every artist and musician would be expected
to firmly identify with a particular camp. "
Back in that dim Thatcherite past, rock music was
the most audible voice of politicised populism, with Red
Wedge on the left lined up against the likes of Phil Collins
and Eric Clapton on the right. Jazz’s position at the time was
perhaps a little equivocal, as due to the peculiarities of
fashion, saxophones, pork pie hats and extended chords had
become so associated with yuppiedom that the whole form
was regarded with suspicion by the guardians of austere postpunk righteousness, and having a saxophone player in your
band was almost tantamount to endorsing the Tory party. At
the same time, the multicultural aspects of jazz meant that it
continued to appeal to the left-leaning constituency. All of
this gave rise to some degree of confusion and conflicted
emotions in the hearts of many jazz fans, traces of which
linger to this day. Let’s take a look at the relationship between
jazz and politics."
It is a central fact of jazz music’s identity that it arose
from the culture of an oppressed minority forced to live on
the bottom tier of a fiercely capitalist society. The rapid
growth of jazz was associated with the Harlem Renaissance of
the 1920s, and as such the music was identified very early in
itshistory as a source of African-American pride. However,
there is very little trace of overt political consciousness in any
of the early jazz musicians or composers,and we can probably
infer that the majority were chiefly too concerned with the
already tricky business of making a living to want to rock the
boat. Come the totalitarian 1930s, jazz was condemned as
degenerate music by both Nazis and Communists - the Czech
writer and musician Josef Škvorecký, who endured life under
both dogmas, has written about the contortions that result
when music is forced to adapt to ideology. Communism
always had a bit of a problem with jazz, being obliged
simultaneously to celebrate it as the voice of the oppressed
and condemn it as a hedonistic blandishment of capitalism,
which may explain why many left-wingers in America and
elsewhere usually felt more comfortable with folk music. By
the 1940s jazz was popular and established enough to be
enrolled into the US war effort, and many of the post-war
post-boppers cut their teeth in military bands, where they
were expected to play big band swing as well as marches and
reveilles. In fact, the US state department organised many
post-war jazz tours of Africa, South America and the Far East
as part of their policy of fighting the Cold War with soft
power as personified by the likes of Charlie Byrd and Herbie
Jazz’s great politicisation really took off with the Civil
Rights struggles of the 1950s and 1960s. Billie singing Strange
Fruit, Max Roach and Charlie Mingus may have led the way,
but many others followed, with even the spiritually-distracted
Coltrane naming a tune Alabama after the 1963 bombing. The
extraordinary accomplishments of the African-American jazz
community were naturally linked to the rising Black Pride
movement. As related by Val Wilmer in her book As Serious As
Your Life, the free-jazz movement that arose out of the
iconoclastic 60s tumult had a heavily political dimension that
some may feel tended to rather over whelm its musical
accomplishments. By the 1970s, the political shade of the jazz
world had become decidedly red. This was equally true in
Europe and the UK, where jazz music was embraced by the
radical left as a corrective to the consumerist excesses of pop
and rock and the solipsistic musings of the singer-songwriter
g e n r e . A s w i t h t h e c l a s s i c a l t r a d i t i o n , j a z z ’s a n t i Establishment stance increased in direct proportion to the
decrease in its mainstream appeal. Jazz’s status as an art music
of dubious commercial viability made it attractive to
musicians who rejected the capitalist/consumerist status quo,
and its credentials as the music of the oppressed regained
credibility, even as the oppressed themselves tended
increasingly to prefer other music when socialising or just
kicking back. Duncan Heining’s excellent account Trad Dads,
Dirty Boppers and Free Fusioneers, already cited in this column,
gives a very informed perspective of the ideological struggles
of the British jazz scene, with notable mention to such
firebrands as Tony Oxley, Mike Westbrook, Keith Tippet and
Chris MacGregor. Heining even attempts a Marxist analysis
of a jazz musician. (Freelancers can be either Productive or
Unproductive Labourers but Bandleaders produce Capital, if
you’re interested). Loose Tubes, the hugely influential
collective who made an extremely welcome comeback
recently featuring our local stalwarts Julian Nicholas and
Ashley Slater, carried the radical-left torch into the 1980s. So
where do we stand now?"
Jazz can be seen as a progressive art form, that values
collective endeavour, radical thinking, and creative solutions,
and values self-expression over commercial success, and this
coupled with its heritage as a music of the oppressed makes
its association with left-wing politics, especially of the more
middle-class sort, seem a natural fit. Yet for all the avowedly
progressive politics of many of its practitioners, the fact is
that a large proportion of its UK audience tend to be white,
male, middle class and comfortably distanced from the
confusions and excesses attendant upon youth, none of which
factors suggest a radically-minded fanbase. Thus it’s perhaps
no surprise that despite the music’s radical past the one actual
serving UK politician most associated with jazz should be the
bonhomous, hush-puppied but irreproachabl y big -C
Conservative Ken Clarke (who also shares a name with the
baron of bop drumming also known as Klook). Music has
often been co-opted into politics but ultimately it tends to
confound those who seek to pin it down to any particular
cause. "
Spirit of Love
A tribute to Simon D’souza
Simon D’souza, the highly
regarded saxophonist, composer,
arranger, performer, multiinstrumentalist, session musician,
educator and all-round great guy
was an inspirational figure in the
local jazz scene."
Pianist and friend Wayne
McConnell pays tribute to Simon
D’souza, who passed away on
Monday 19th May, 2014.
Where can you begin with
a man as rare as Simon. We all
knew Simon as an extremely
talented saxophonist, composer
and educator and some of us were
lucky enough to know him as a
friend. I first met Simon at the
Bee’s Mouth or rather The Art
House as it was called then. It
was a jam session of sorts and
Simon sat in. Before he played a
note the first thing I noticed was
his beaming, infectious smile. He
had this amazing ability to put
everyone at ease, the look he gave
wa s a mixture of excitement,
wonder and pure joy to be playing
music in the moment. Then, he
s t a r te d to p l a y. A l l o f t h o s e
feelings I saw in his eyes were
instantly transferred to the
musicians on the bandstand. He
provided the perfect cocoon of
solidarity for the music to unfold.
He would guide, interact, drop
back and everything in between.
Despite his ferocious technique,
his guide was always the bigger
picture of what was happening
musically. Everything about his
playing was superb; his sound, his
note choices, his sense of time, his
phrasing, his language and above
all, his spirit. "
One of the great things
about playing with Simon is that
he was hugely generous with his
spirit, he passed it on both
through the music and how he
conducted himself on and off the
bandstand. To say he was a true
gent would be an understatement.
I remember asking him a bunch of
muso questions that I won’t bore
you with now but the answer I got
was so rich, fun and not delivered
in a teacher/student way but on an
e q u a l p a r. He w a s a n a t u r a l
teacher with a genuine desire to
help people. Playing with Simon
was always a learning experience
and again, I must stress how much
love and appreciation he gave to
the contribution of others on the
bandstand. "
I wa s ver y for tunate to
work with Simon in a number of
different capacities. We worked
together as musicians, he gave me
gigs, I gave him gigs, the usual
sort of thing. I treasured every
time I got to play with him
because I went away with
something new. I landed a job at
Chichester University teaching on
their general music degree and
about a year or so later, Simon was
a p p o i n t e d He a d o f Ja z z a t
Chichester College. We had many
a coffee talking about how we
could make a connection between
the two institutions that seemed
not to have been made
previously. This will finally be
coming to fruition in the near
future. "
One of Simon’s many
skills was connecting people,
he was a people person. His
work as a community
musician with the 100
AudioActive Youth Music
Project should have earned
him an award or three. Then
there is Simon the Composer.
He c o m p l e t e d a n M A i n
Composition from Sussex,
and the pieces for his study
are nothing but breathtaking.
As well as this, Simon wrote
music for the Journey Down
computer game series. I’m
not much of a gamer but
knowing that Simon had
written the music, I had to
download them and give
them a tr y. The music is
wonderful and conveys every
emotion you encounter during the
game. This was not surprising
given Simon’s ability to deliver
emotionally charged music every
time he played the saxophone or
the trumpet, or the valve
trombone, penny whistle, piano,
voice, guitar, bass and drums to
use his words "in descending
order of competence". You could
write a book on the achievements
of Simon, you only need to take a
p e e k o n Fa ce b o o k to s e e t h e
amazing outpouring of tributes
from his friends, students and of
course, family. He touched so
many people's lives in so many
ways. "
I remember vividly finding
out about Simon’s illness while I
was in Thailand back in 2012. The
way he dealt with this horrible
disease was nothing short of
c o u r a g e o u s . He w a s a l w a y s
upbeat and still had the same
sense of focus in playing, writing
and teaching. While ill and going
t h r o u g h t r e a t m e n t , h e w r o te
music, recorded and continued to
perform, inspire and help people.
He was utterly selfless. The music
he wrote for the Straight No
Chaser big band was recorded in a
beautiful album called Navigation
with a good chunk of profits
going to the Brain Tumour
Charity. Please go and buy
it, not just because it will
help this great cause but
a l s o b e c a u s e i t ’s b l o o d y
" I was privileged to be
featured alongside Simon on
an album by Lou Beckerman
recorded in Januar y this
year. His playing was utterly
perfect. In particular, we
shared a magical moment
(for me) on an introduction
to the beautiful ballad
Skylark. I remember playing
that in the studio and being
instantly transported by his
Simon, his
beautiful wife Susan and
parents came to a gig Lou
and I had at the Unitarian
Church just under two
months ago. The gesture of
their being there during this
time and supporting us was
mind blowing and another display
of their combined generosity. "
I am so grateful for all the
magical moments I shared with
this great man, and the things he
taught me, not just in music, will
remain with me forever. In the
scheme of things, I only knew
Simon for a few moments but the
impact is everlasting. I, like so
many, will always remember that
s m i l e a n d t h e u n s p o ke n
reassurance that ever ything is
going to be all right.
100 Saxophones Rides Again
In May 2004 Simon D’souza organised a
mass saxophone event as part of the Brighton
Carnival Encounter weekend. Ten years later,
and only a few days after his passing, the event
returned in the form of 100 Saxophones
Rides Again ser ving as an apt way for
musicians to celebrate the life and legacy of
Simon D’souza and a good opportunity to raise
money for the Brain Tumour Charity."
With glorious sunny weather and a
large, enthusiastic crowd, the assembled
musicians performed tunes such as James
Brown’s I Feel Good and Mark Bassey’s original
composition Spirit D’souza in tribute to Simon,
with some help from Jaco Pastorius and Horace
Silver. The ska tune Monkey Man also had the
crowd moving and cheering."
This was an all-inclusive event with
saxophonists young and old, many given the
o p p o r t u n i t y to s o l o , a l l b a c ke d u p b y a
professional rhythm section and under the
guidance of Saxshop organisers Mark Bassey
and Beccy Perez Rork.
In conversation with Cecilia Stalin
For the first of our
Love Supreme Festival
previews, SJM editor
Charlie Anderson
spoke to Swedish jazz
vocalist Cecilia
Stalin at the Royal
Festival Hall on the
South Bank.
Do you ever dance when there
isn’t any music playing?
Yeah, 'cos I sing!"
Do you ever have music in your
Absolutely. I’ll start dancing and
Do you do that a lot?
No, but it does happen. But the
initial thing, I’ll kind of think of a
song and then I’ll go and put it on,
on my stereo. When it’s a good song
you want to blast it out."
Do you like Star Wars?
Yeah, I love Star Wars."
Do you like the new trilogy or
the old trilogy?
I like them all, actually. I even like
t h e L e g o S t a r Wa r s . Fo r m e i t
doesn’t matter. I’m not picky like
that. I think there’s an idea George
Lucas had and then they change.
Some of them were filmed in the
70s and early 80s. So you can
imagine the type of equipment that
they had. When you look at the
kids' programmes that I used to
look at in Sweden. They were low
budget and someone just put a hand
in a sock, you know."
I’m happy that they’ve been able to
move with the times, it would have
been weird otherwise. Who today
would want to see the same quality
of films that were made in the early
80s when you have the ability to do
what you can today? I like them all.
I’m nostalgic about the old ones of
Here’s a hypothetical question.
B r i t a i n d e c l a re s w a r o n
S w e d e n . W h o w o u l d yo u
What would you do to bring
about peace?
First I would take away all guns.
Then I would give ever yone
massive counselling sessions just to
kind of re-evaluate life and how we
should value it. Once you look at
your neighbour or people that you
meet and realise that they have a
family, they have a life, they have
friends. If they’re equally as grateful
for their lives, then why would you
even consider that you have more
right to something than someone
Do you like football?
Football, not at all interested. Not
at all."
What sports do you like?
Watching or playing?
Both, but I don’t real l y play it
anymore. We’re trying to see if we
can get access to a local basketball
cour t and see if we can star t a
community basketball group on a
Tuesday or a Wednesday and then
see who turns up. We’ll just have
some fun. To be truly honest, I like
the summer Olympics but I’m not
really one for watching sport. I like
playing basketball and golf. I play
golf with my dad so that’s more of a
social thing. I’ve left my sporting
days behind, I think. They’re gone.
If anything I would say that I’m
more into outdoor things. I would
say more adventure stuff."
What sort of things?
Like hiking, canyoning or rafting."
W h e n yo u s a i d ‘a d v e n t u re
stuff ’, I was thinking of
treasure hunts.
No! That’s not real l y my thing
either. [laughs]. Going to the beach.
That’s the type of sport I like."
Here’s another hypothetical
o n e . Yo u r h o u s e h a s b e e n
b u rg l e d . W h a t h a v e t h e y
I guess that all depends on the
thief. I think they would probably
steal my bass. My electric bass, 'cos
that’s something that they can see
instantly. My computer, of course,
some of my studio gear if they’re
clever enough."
So you play bass?
No, not really. I have one."
You just like to look at it?
Yeah. No, I’m trying to learn the
basics of bass playing."
D o yo u p l a y a n y o t h e r
Piano and I know about three or
five chords on the guitar. So, not
What English words do you
have trouble pronouncing?
"Itinerary". I always have a problem
with that. And I have a problem
with "very". Vs can be really hard
for Swedes because we want to say
"wery". Itinerary. It’s weird that I
even get it right now but that would
be the word."
W h o a re yo u r m u s i c a l
Besides John Coltrane and Miles
Davis, Sonny Rollins, Thelonious
Monk and Ella Fitzgerald, Nancy
Wi l s o n , M i n n i e R i p e r to n a n d
Ste vie Wonder, Bil lie Holiday,
C a r m e n Mc R a e , D e e D e e
Bridgewater, Dianne Reeves, Bill
Ev a n s , Wy n to n Ke l l y, Fr e d d i e
Hubbard, Millie Jackson, Betty
Carter, Betty Wright. I really love
early Tower of Power stuff. Fats
Waller and Oscar Peterson. I think
Oscar Peterson is amazing. Chet
Baker I’ve listened to quite a lot."
Do you like his singing or his
trumpet playing?
I like both actually but I’ve been
listening more to his singing. And
also his scat singing I find so
mazing. It’s just so melodic. Lester
Young. They’ve all got to have their
own category like what I look for in
artists. So Millie Jackson, Betty
Wright and Ann Sexton and those
p e o p l e , t h a t ’s a b o u t a t t i t u d e .
Stevie’s about songwriting and Steve
and Minnie worked a lot. Minnie is
more about technique. Aretha is a
big influence on me, too. Besides
her amazing technique and ability,
she wrote Rock Steady and on Young
Gifted and Black, there were also her
own compositions on there. Her
phrasing. Wow, it’s so spot on, just
incredible. So they all kind of have
their slots. It’s the same with Nancy
Wi l s o n , h e r p h r a s i n g i s j u s t
ridiculous. Dee Dee Bridgewater,
she is just such a force on stage that
you never know what’s going to
happen and I kind of love that
about her. It’s a bit mental. And
then Wayne Shorter, I love his
writing. His playing, too but I really,
really admire his writing. And then
there are all the contemporar y
people, too that I haven’t even
mentioned. I really look up to a lot
of people in my close realm - my
friends, there are lots of talented
people there."
What’s the nicest thing anyone
has said about you?
About me as a person, or about me
as a musician?"
Err, not sure. How about both?
Well there was a guy who emailed
me on Facebook, maybe two years
ago, and he told me his whole life
story and all the shit that he’d been
through (and we’re talking about
some serious stuff). And then he
said "The only thing that got me
through was your song". To me, that
was really good. If your music can
give someone life, someone who is
going through hell, then that’s
p r e t t y a we s o m e . I d i d n’t e v e n
release that album to get any
recognition, I just documented
where I was at that time and I’d just
finished the Royal Academy of
Music in Stockholm and I had been
in New York for a year. I had so
much energy and so much music
that I wanted to get out that I
thought to myself "I’m just going to
record an album, fund it myself and
maybe press it up". It was picked up
in Japan and a few other places
around the world so he must have
got hold of a copy. But that was
really, really nice."
Favourite albums?
Ohhhh! That’s too big a question to
answer. There are so many."
Is there one that you listen to
over and over again?
There’s one album that I’ve been
listening to when I go to sleep. Just
because it’s such a stunning album.
There’s actually two albums. One is
called Alina by Arvo Pärt (ECM,
1999) who is an Estonian composer.
The other one is actual l y John
Coltrane Quartet Plays (Impulse!,
1965) which is so funny because
they’re the opposite of one another
but for some reason they both give
me that same feeling of peace and
tranquillity. Which is weird because
the John Coltrane is like "Grrrh!!"
but there’s something about the
way that he plays, it has that
calming effect on me."
Yo u ’re p l a y i n g a t t h e L o v e
Supreme Festival in July. Have
you played outdoor festivals
Yeah, some. Some in Sweden, I did
something in Australia but not that
much. I’m really looking forward to
it. It’s going to be fun."
I performed at The Chiddingly
Festival. Those people are supernice. I was down there a couple of
years ago [2012] and it was really
nice. There were a few people from
Brighton that came through. It’s
like a proper mini-jazz-festival.
When we arrived, there were these
bands playing outside and I was
thinking "What if nobody really
listens to jazz, it’s gonna be crazy"
but it wasn’t. It was really nice."
Do you like singing outdoors?
If the sound system is good, I really,
really like it. If it’s pissing down
then it’s not going to be very nice, is
it? But on a sunny day with a little
breeze going on. Oh my God, I love
that. So I hope it’s going to be
If you could write your own TV
show, what would it be about?
Ooh, my own TV show. A series or a
talk show?"
It has to be a series.
Do I have to consider that it has to
be commercially viable?"
No, not at all.
Okay. To be totally honest, I think
there’s such a non-understanding of
creative people. They really don’t
understand how much time and
effort you put into your work. The
fact that we still today have people
coming to us and offering us gigs for
hardly any money and saying "Oh
i t ’s g r e a t e x p o s u r e " . B u t y o u
wouldn’t call up a Michelin star chef
and say "I’ve just bought a new
house and me and my friends will
have dinner every night and you can
come and cook. We can’t pay much
but we’ll give you some amazing
feedback’".That doesn’t pay the
bills. So I would do a programme on
different types of artists. An indepth look at what it really means
for them to come to the point
where they are now in their career.
And what is it that they do, how
many hours have they spent
perfecting their art, writing that
music or working on that sculpture.
How much does it cost? When you
break down a gig. Even if I get £500
for a gig that might actually mean
that I have to learn certain songs
for it, I have to travel for x amount
of hours. Even if you get x amount
of pounds, when you break it down
per hour it’s under minimum wage.
It all sounds so glamorous but the
amount that you have to put in. We
do it because we love it and I
wouldn’t change it for the world
but, at the same time, people have
this amazing picture that "If I go on
X Factor I’ll become famous" but
no. You might get commercially
famous for six months and then
that’s it. I think that showcasing
what it really means to be an artist,
the passion and drive and the hours
that you put in. I’d probably do
something cool like that. Then I
would get some really cool artists
in, both famous and non-famous
and [whispering] maybe even get
them to work together."
Who would play you in a film of
your life?
Erm…The only people I’ve been
told that I look like are both artists.
The singer in Ally McBeal. What’s
her name?"
No i d e a . [ I h a d to g o o g l e i t
later: Vonda Shepard]
Or Natasha Bedingfield."
Oh [holding back the laughter]
I have no clue. That’s a very good
q u e s t i o n . Ke v i n Ha r t m a y b e ?
[laughs]. I really don’t know."
What did you want to be when
you were younger?
A hairdresser. When I was about six
I wanted to become a hairdresser.
It’s very popular at that age to want
to become a hairdresser. I don’t
know why."
What happened?
I grew up. No, I think it’s because I
wasn’t allowed to have long hair
until I was eleven. My mum kept
my hair short as it was easier to deal
with. I think I dropped those ideas
pretty quickly because I couldn’t
really muck about with my own
hair. But I think it’s one of those
things that you say that you want to
do because everyone else wants to
be that."
I remember writing my first song
when I was ten and I think
somewhere it’s always been in me
because I did music so early. When
you write your own song when you
are ten, then the satisfaction that it
g i v e s y o u , t h a t y o u ’ v e c r e a te d
something.People who don’t write
at that age might not have the same
urge to express themselves in that
way. You can enjoy music but look
at Stevie, look at Michael. All of
them started so early. I think when
you start that early then that’s just a
calling. In the same way that kids
can play football at age two and
they’re amazing. People have talents
a n d a l o t o f p e o p l e d o n’t
acknowledge them."
What do you like most about
I think that London as a city, I love
the architecture. It’s ridiculous. It’s
so full, with all the old and the new.
But I really love walking around in
the older areas, even just down here
[the South Bank]. And then you
look at all the building and you
think "Can you imagine who has
lived here?" Back in the day when
they had horses and carriages. It’s
pretty cool. So I love that. And
then I love the new additions: the
L o n d o n E y e , t h e Hu n g e r f o r d
Bridge, the Millennium Bridge. It’s
a diverse city, in a lot of aspects:
culture, people, food, art. What’s on
offer is so diverse. The thing that I
really love, the one reason that has
made me stay so long, is that people
are so open to new things. You can
mix things and people say "That’s
interesting", instead of saying
"Well, that’s not jazz". It feels like
you get a pat on the back rather
than a finger in your face. I really
love that. Some of the stuff that I’ve
seen. I saw a show at the Barbican.
Basement Jaxx versus a symphony
orchestra. Then they had a
breakdancer from New York and a
prima ballerina from London and
they had a battle through all this
music. That’s what I’m saying:
they’re letting people be
themselves. I think that’s why
London is one of the hotspots for
new music, I really feel that. They
could do with better housing
though, and less rain, but I’m not
sure that’s not going to change any
time soon."
Cecilia, thanks for meeting
with me today.
Cool. It was fun.
Cecilia Stalin appears at the 2014 Love
Supreme Festival on Sunday 6th July."
Her latest album, Step Like A Giant, is
available now.""
So Much Guitar
Currently promoting his
latest album, Jason Henson
Plays Wes and Benson,
guitarist Jason Henson
talks to editor Charlie
Anderson about the
album and how he got
into playing jazz.
So the album came about, I’m
guessing, because you’re a big
fan of George Benson and Wes
“ Ye a h , t h e y ’ r e t w o o f m y
favourites. Certainly in the top ten
if not the top five. I love their
music and those songs. Particularly
George Benson albums from the
60s: The Cookbook and It’s Uptown.
There’s some burning guitar playing
on that.”"
“I heard it when I was on a
cruise ship one time. I remember
asking "Who on earth is that?" and
they said "It’s George Benson" and
I was like "He plays like that?". I
didn’t know he did the bop stuff, I
wa s onl y aware of the cheesier
smooth side.”"
“And Wes has always been a
favourite of mine. Right back to
when I started getting into jazz
guitar.I remember we did Four On
Six when I was at Chichester jazz
college around the late 1990s.”"
“There are no ballads on
there, it’s all kind of upbeat, there’s
some groovy stuff. I could put in on
with friends around and it wouldn’t
m a ke e v e r y b o d y f a l l a s l e e p o r
w h a t e v e r. We l l , t h e o r i g i n a l s
Are you from Brighton?
“ I ’ m f r o m Po r t s m o u t h
So how did you end up here?
“I did my A-levels at Havant
College, whilst living in Portsmouth
and then I came to Sussex
University to start a maths degree.
When I came to Brighton I got
involved in the music scene playing
funk and reggae and bits of jazz as
well. And a lot of improvised music
as well. I was into 70s Miles Davis
type stuff and some Wes as well.
Music took over really. I just ended
up spending a lot of time recording
and jamming and studying music
and very,very little time going to
maths lectures or doing any maths
work. I got through the first year
just about with literally going to 20
hours in total of lectures.”"
“During my second year when
I moved off campus I was even
worse. I didn’t bother going and
when it came to the exams, I hadn’t
done any work and I thought well,
this isn’t what I want to do and
t h a t ’s w h y I ’ m n o t d o i n g i t . I
wanted to do music, take it more
seriously and give it a go basically. I
decided to leave and then I decided
pretty quickly to do the Chichester
jazz course, because I wanted to
learn more about harmony and I
needed a little more experience
playing jazz. So I went there, did
the diploma course and I really
enjoyed it. I did pretty well,
especially in the performance bit
and I did Spain by Chick Corea and
things like that. And by that time I
was gigging quite a lot.”"
“A n d t h e n I w o r ke d a s a
musician for a year. I had a year out
and actually went back to
Chichester whilst working and did
an HNC. We were gigging with the
bands and it was good fun. Then I
got into Rockin’ In Rhythm, the
swing band, and then I really
wanted to learn how to do that
properly so I started to listen to a
lot of it and I studied rhythm guitar
with Piers Clark who is a real fan of
Freddie Green. I learnt a lot of the
swing voicings on the guitar. And
we did a lot of busking and I learn a
lot just from playing a lot.”"
“I was in Charlotte Glasson’s
band for a while. We did cruises and
went to Brazil, New Orleans, the
Caribbean, Egypt and other places.
I recorded a few albums with her as
well. But this is the first time I’ve
done my own project.”"
So, how did the new album
come about?
“Well, I’ve probably recorded
about 15-20 albums with other
people so I thought that I should
do one of my own. Then I came up
with the name and thought "Well,
I’ve got to do it now". Some of the
tunes weren’t actually written by
the guitar guys but we took their
arrangements of them. And a lot of
the tunes weren’t standards so it
was another first for me as I had to
write out all the charts by hand.
When Ian Price joined the band he
put it into Sibelius so the charts all
looked nice.”"
“I wa s playing with Terr y
Seabrook and Alex Eberhard a lot
and I wanted to record so we got a
date and it was during all that snow
that we had the January before last
and Terry Seabrook phoned up and
said that he couldn’t get his organ in
the car because of the snow and ice.
So I had to cancel the recording
session which was a real setback
because I was getting the recording
done for free. So I didn’t know
what to do so I got in touch with
them. It was recorded at Surrey
University by one of the postgrad
students. I was recording a gypsy
jazz thing there and they offered me
a chance to record there. They
called and said a night time slot had
come up. I’d had actually done a
night time slot there before and it
was a bit crazy.”"
“I tried to book Terry but he
was away so I got Pete Whittaker
on organ. I hadn’t met him but I’d
seen him play with Nigel Price and
I knew he had a Leslie speaker and
I really wanted a proper Leslie. So I
booked him and then a last minute
day time slot came up and I
thought that would be much better
so I changed it. I got Matt Home
who is also in Nigel Price’s organ
trio and I knew that he knew a lot
of the Wes tunes. We decided to do
the morning as the organ trio and
then Dan Sheppard and Ian Price
would do theirs in the afternoon.
I’d never met Matt Home or Pete
Whittaker before, let alone played
with them. They were really great
blokes and reall y supportive. I
decided to film it at the last minute
so it was a bit hectic filming it on
different devices.”"
“The recording went quite
well, though it was quite hectic for
me, and doing it all in one day, in
the space of seven hours. People
were going off to gigs afterwards so
we co u l d n’t o v e r r u n a n d I w a s
determined to get an album's worth
of material We recorded nine tunes
and released eight of them on the
album. Overall, I’m pretty pleased
with it. I’d love to have a week in
the studio to get ever ything
absolutely perfect and be happy
with all my solos.”"
What are you doing in terms of
promoting it?
“Well, I’ve done this video.
It’s taken me over a year to get that
together. Now that I’ve got that
together I’ve started hustling for
gigs. I’m hoping to do some stuff
over the winter when the function
side of things dies down and people
are more available. I’ve got the
promotional video and I’ve got a
tune on Soundcloud. I’ve got a huge
list of festivals, clubs and venues to
approach. It can be quite tough.
I’ve done a bit of it in the past with
other projects. Some people will
like it and others won’t but fingers
crossed I’ll be able to get some stuff
together and do some jazz festivals
next year. I’ll see how it goes.”"
You go out busking regularly?
“Yeah. I’ve been doing it now
for 15 or so years with Rockin’ In
Rhythm. It’s a nice band. I do enjoy
playing with them. I do like swing a
lot. And they’re a funny bunch,
good to hang out with. Joe Hunter
is a total legend. That was great for
me to get into that band when I
wasn’t quite ready. But it did make
me learn tunes. And I used charts
for a couple of years and then I
s to p p e d s o I c o u l d s e e w h a t I
needed to work on. It’s surprisingly
ea sy real l y. A lot of people use
charts as a safety net. You get really,
really experienced musicians still
reading Autumn Leaves out of a real
book when they must have played it
a million times.”"
Do you have a regular routine
for practising on the guitar?
“I’ve been pretty bad at
routines. The thing that’s helped
me most is things like busking
ever y day and gigging. If you’re
gigging three or four times a week
and busking ever y day in the
summer then that’s a lot of playing
time. I try to do what I can in the
winter in terms of learning new
material and studying stuff. When I
first started learning guitar it was all
just getting it off the record,
transcribing stuff, without writing it
down and just memorising it. And
then with computers and the
internet it became much easier to
get hold of charts. And now you can
watch YouTube videos and see the
best artists and where they’re
putting their fingers, what righthand technique they’re using or
w h e t h e r i t ’s a n u p s t r o ke o r a
downstroke. I think YouTube has
really helped a lot of the young guys
coming through. I think there’s
more and more young, really
talented people playing jazz and
gypsy jazz.”"
“Because I started a maths
degree, at the beginning when I was
learning jazz I was scales mad and
I’d work out every permutation of a
seven-note scale that you can do
with tones, semitones and minor
thirds. I was a bit crazy on that. It
was a bit later that I realised how
important all the arpeggios were in
all the positions on the guitar. I’ve
kind of picked it up as I’ve gone
along. At the beginning I was pretty
terrible and slowly you get a little
b i t b e t t e r. I ’ m a l w a y s g o i n g
forward, learning new tunes and
new licks and new bits of harmony.
I could be more disciplined about it
all and I think I’d be better for it if
I w a s b u t i t ’s d i f f i c u l t i n t h e
summer there isn’t much time to do
it. I’ve also got a teenage kid who
lives in Stroud. He’s just getting
into guitar. He sat in and played
Minor Swing at the Paris House. I
was really proud of that, though
he’s more interested in playing
Nirvana and playing electric bass.”
The album Jason Henson Plays
Wes and Benson is available
from CDBaby and iTunes and
will be reviewed in a future
issue of SJM."
Watch Jason’s promo video
Nick McGuigan, photo by Mike Guest
The Jazz Education Section
The Improv Column
Pianist Terry Seabrook’s Jazz Tip of the Month No. 10"
Swinging the Quavers
It’s well known that quavers (or eighth
notes as they’re known in American
terminology) should usually be played with a
“triplet” rhythm in jazz."
This applies when the underlying feel or
groove is swing (as opposed to a “straight” feel
such as latin, rock,etc) and at tempos within a
certain range. "
What is also important is to give some
accentuation or stress to the “off ” quavers, thus
creating a syncopated sense of accent. This has
the effect of “driving” the groove because every
beat (ie. the “on” quavers) is anticipated with
an accent."
So, quavers written as in example 1:"
should generally be accented as in example 2: "
Pr a c t i s e s c a l e s , p h r a s e s a n d
improvisation with the accentuation in the
correct place. This can be hard if you
haven’t developed it. Many players when
they start out emphasise the “on” quavers
and this sounds ver y wooden and “unswinging”"
Experiment with different levels of
accent from subtle to extreme and vary this
as you play a phrase. "
Also experiment with varying the
amount you delay the off quavers. Tr y
example 3 above (two thirds to one third)
and then example 4 (three quarters to one
quarter). "
You may be surprised that I have
included example 4 as a way of playing
swing quavers because it is often cited as
“wrong” but it is my belief that different
players “swing” the quavers to differing
degrees as a way of personalising and
varying their swing feel. For example the
pianist Wynton Kelly has a buoyant, perky
swing feel because he frequently plays
closer to example 4 than example 3."
and if it’s a swing groove, they should be
played somewhere between the triplets from
example 3:
and the dotted rhythm in example 4:
Then again some players (particularly
saxophonist Dexter Gordon and frequently
trumpeter Art Farmer) actually play more
or less dead straight, even quavers like
example 2 nearly all the time while the
rhythm section play swing feel."
You can still manage to swing when
playing straight by accenting correctly and
by using other devices such as playing
behind the beat. "
There are times though, even in
swing jazz, when the quavers aren’t swung –
more on this next time."
A Guide to Learning Jazz in Sussex - Part 1"
Listings of jazz courses and workshops in Brighton and Hove.
The Brighton Jazz Co-op
The Brighton Jazz Musicians Co-operative has been
running since 1986. A group of local musicians get
together once a week and pay a top-class tutor to give
a workshop."
Local musicians such as Geoff Simkins, Mark Bassey,
Terry Seabrook and Julian Nicholas are always very
popular tutors."
Tutors often teach for two consecutive weeks but
expect a different set of students each week, along
with a few of the regulars."
The summer months usually see a friendly jam
session where students get together and play through
the tunes learnt in previous workshops as well as
other tunes that students are interested in."
Dates & Times:"
Every Tuesday. 8-10:15pm"
Students are encouraged to arrive a few minutes
earlier to set up their instrument(s)."
The Good Companions (upstairs room), 132 Dyke
Road, Brighton BN1 3TE"
£7 per class / £4 concessions"
Cash payments are collected during the break."
Website: ""
Brighton Jazz School
Jazz pianist Wayne McConnell has been running
Brighton Jazz School for more than 3 years and the
school continues to grow and develop as a place to
learn jazz in an authentic way."
Brighton Jazz School students are eligible to
perform each week at The Verdict and the school
also r uns masterclasses with world-class jazz
Wayne McConnell also hosts a monthly podcast
interviewing international jazz stars."
Dates & Times:"
Weekend Course, Saturdays 11am-2pm"
Learn To Play, Tuesdays 11am-6pm."
Jazz Extensions, Mondays 3-6pm"
Weekend Course: The Verdict, 159 Edward St.,
Brighton BN2 0JB"
Learn To Play & Jazz Extensions: The Brunswick, 1-3
Holland Road, Hove BN3 1JF"
Learn To Play £250 for 10 weeks."
Beginners £150 for 10 weeks."
Taster days available."
BJS also runs a Composing & Arranging Weekend as well
as masterclasses and summer schools."
Contact: [email protected]
A Guide to Learning Jazz in Sussex - Part 2"
Listings of jazz courses and workshops around the Brighton area
Jazz Singing Workshops
with Imogen Ryall
Dates & Times:"
Saturdays, 10:30am-12:30"
Rottingdean, contact Imogen for
more details"
[email protected]"
£7 per person"
[email protected]"
For more information on Imogen
Ryall visit:""
As well as teaching vocal students
on the Chichester Jazz Course,
Imogen teaches at these other
courses: "
‘Swing While You’re Singing’ at
Evolution Arts, Brighton on three
Saturdays starting from 14th
Visit for
more info and booking."
Jazz Singing for Beginners/
Intermediate at Chichester College
is taught for ten Wednesdays
(7-9pm) from 19th September
Geoff Simkins Jazz Course"
A Saturday course r un by
saxophonist and jazz educator
Geoff Simkins:"
“I've been running the Saturday
classes for over 20 years, until "
recently they were part of the
Centre for Continuing Education
at The University of Sussex, but
when the University closed the
entire department, many students
asked me to continue to run the
classes independently.”"
“They are now held at The Bridge
C o m m u n i t y C e n t r e , L u c r af t
Road, Brighton and this year I'm
running an Intermediate and an
Ad v a n c e d c l a s s o n a l te r n a te
Saturdays.” "
“It's aimed at serious musicians
who want to improve all aspects
of their playing and so students
sign up for a year 's cla sses (5
classes per term, 3 terms) but the
coming course is fully subscribed
already and, like every previous
year, there's a waiting list.”"
“My teaching is based on the
knowledge/experience acquired
over nearly 40 years as a
professional jazz musician and as
a te a c h e r a t c o n s e r v a to i r e s ,
including The Royal Academy,
Trinity Laban, and The Royal
Welsh College of Music.”"
If a n y o n e w o u l d l i ke m o r e
information about the Saturday
classes or one-to-one lessons they
can contact Geoff Simkins at
geoff[email protected]"
Jam sessions
in the Brighton area
The Bee’s Mouth,
10 Western Road,
Brighton BN3 1AE
Hosted by guitarist Luke
9pm - late."
The Brunswick,
1-3 Holland Road,
Hove BN3 1JF
Hosted by guitarist Paul
8pm -11pm"
The Verdict,
159 Edward Street,
Brighton BN2 0JB
Hosted by pianist Wayne
9:30pm - late."
A Guide to Learning Jazz in Sussex - Part 3"
Listings of jazz courses and workshops around Sussex.
Jazz Smugglers, Bosham"
The Jazz Smugglers regularly put
on workshops that focus on
musicianship skills which can only
be learnt in a group setting."
Ropetackle, Shoreham
Dates & Times:"
Renowned jazz trombonist Mark
Starting on Sunday 8th September Bassey leads this workshop for
Sundays 7-9pm"
intermediate to advanced level jazz
performers. The focus is primarily
on contemporary jazz and student’s
original compositions and
Organiser Steve Lawless says:"
“Mark's popularity has meant that
Tel. 07533 529379 "
we have been continually full. We
keep a balance between rhythm
For more information:"
instruments, and vocal / horns and
have a waiting list for the piano"
The Jazz Smugglers are currently
looking for front-line players.
Dates & Times:"
Fridays 2-4;15pm"
22nd Nov. - 20th Dec."
Two one-hour sessions with a 15min
break in between."
Ropetackle Arts Centre, Little High
St., Shoreham-By-Sea, BN43 5EG"
(First Floor, Mezzanine Room)"
Cost: "
£60 for a block of four sessions"
Website: ""
Steve Lawless"
[email protected]"
Mobile: 07514 569595
Chichester Jazz Courses
HND Jazz (Level 5)"
for advanced musicians"
Diploma in Music - Jazz (Level 3)
for intermediate musicians"
Diploma in Performing Arts - Jazz
(Level 2)"
for beginners"
Dates & Times:"
Courses start every September."
Chichester College, Westgate
Fields, Chichester PO19 1SB"
Variable fees depending on status."
Website: "
A Guide to Learning Jazz in Sussex - Part 4"
Instrument Specific Jazz Courses and Workshops
A Community Saxophone Workshop
Saxshop is a Brighton based community saxophone
ensemble led by Beccy Perez Rork and Mark Bassey. "
Founded in 2003 by Simon D'souza, many of the
original players from that very first course still
attend. "
“A very friendly welcome will await you if you
decide to join us. Players of all abilities can come
along although it is helpful if you have at least basic
music reading skills.”"
Dates & Times:"
Every Wednesday evening 7:30-9:30pm"
St Richard's Church & Community Centre, Egmont
Road, Brighton, BN3 7FP"
£20 per class / £55 for 3 classes"
Website: ""
Sussex Jazz Guitar School
Guitarist Paul Richards has been running the
Sussex Jazz Guitar School since June 2013 and it has
already become a popular course for aspiring jazz
The course covers everything from technique
and how to practice effectively, through to chord
voicings, soloing ideas and learning repertoire." "
Students are given prep work to practice
before classes as well as a recap on what was covered
in previous classes."
Although the course is not designed for total
beginners, Paul offers one-to-one lessons for those
wishing to learn jazz, latin or classical guitar."
Dates & Times:"
One Saturday each month."
11am - 1:30pm"
The Brunswick, 1-3 Holland Road, Hove BN3 1JF"
£20 per class / £55 for 3 classes"
Website: ""
Contact: [email protected]"
Reviews & Previews
Members of Full Circle, bassist Terry Pack, pianist Joss Peach and drummer Jim
Whyte, paid tribute to Simon D’souza at their gig at The Verdict in Brighton on
Saturday 24th May.
Live Reviews
Mornington Lockett
The Verdict, Brighton"
Friday 16th May"
Former Ronnie Scott
sideman Mornington Lockett
performed at The Verdict with
an all-star band including local
drummer Spike Wells who was
joined by his old friend pianist
John Critchinson, who turns
8 0 l a t e r t h i s y e a r, a n d
y o u n g ( e r ) b a s s i s t Je r e m y
Brown. "
After ‘Critch’ counted
in The Way You Look Tonight at
an unbelievably fast tempo, it
only remained to be seen if
the younger bassist could keep
up. With great soloing from all
involved, this was an evening
of classic hard bop and
standards, including a
memorable version of Softly As
In A Morning Sunrise. "
performed with legends such
a s Wo o d y He r m a n , D i z z y
Gillespie and Red Norvo. In
the UK he has worked with
Alan Barnes, Dave Newton
and Geoff Simkins."
This evening saw him
performing again with alto
saxophonist Geoff Simkins
and bassist Simon Woolf in a
trio format that worked really
Alden, who plays the
seven-string guitar, comped
and soloed in a relaxed style,
perfectly blending with the
West Coa st cool sound of
Simkins and the bowed solos
of Simon Woolf."
The highlight of the
evening was an impromptu
performance of the Strayhorn
ballad Chelsea Bridge."
Howard Alden with Geoff
Simkins & Simon Woolf
The Verdict, Brighton"
Sunday 18th May"
American guitarist
Howard Alden is best known
for performing the guitar
parts for the Woody Allen film
Sweet & Lowdown but has also
Joss Peach’s Full Circle
The Verdict, Brighton"
Saturday 24th May"
P i a n i s t Jo s s Pe a c h
began by dedicating the
evenings performance to the
l a t e S i m o n D ’s o u z a a n d
explained that the first set
would consist entirely of
T h e l o n i o u s Mo n k t u n e s .
There were some fantastic
performances of Monk’s Dream,
Blue Monk and Bemsha Swing
amongst others."
During the second set,
after performing some original
compositions, Joss treated the
audience to an exclusive
playback of the tune For All We
K n o w w h i c h h e a n d Te r r y
Pack recorded with Simon
D’souza a few months ago.
Hopefully this track will be
released at some point in the
future. (The Donny Hathaway
version that he referred to can
w w w. y o u t u b e . co m / w a t c h ?
The evening ended
with a rousing encore of Terry
Pack’s El Pueblo Nuevo from
his album Palimpsest."
A fantastic gig and a
great opportunity to see some
soulful, empathetic playing
and creative soloing. If you
missed them this time round
then they appear at The
Verdict again on Saturday 28th
Charlie Anderson
Radio programmes"
Jazz On 3, Mondays 11pm-12:30am"
Mon. 26th May: Thomas Stronen"
Mon. 2nd June: Medeski, Martin & Wood"
Jazz Record Requests, Saturdays 5-6pm "
Alyn Shipton plays listeners’ requests."
FM radio"
DAB digital radio""
BBC iPlayer
Jazz Line-Up, Saturday 6-7pm"
Sat. 31st May: Curtis Stigers and Danish Radio Big Band"
Geoffrey Smith’s Jazz, Sat. evenings at midnight"
Sat. 31st May: Roland Kirk"
The Jazz House, Wednesdays 8:05-10pm"
BBC Radio Scotland"
Stephen Duffy presents live music and features from the
world of jazz. Available on iPlayer.
There’s some great jazz to be heard on Jazz FM, such as:"
Dinner Jazz, 7-10pm Presented by Helen Mayhew"
The Cutting Edge, Sundays 10pm-midnight. Presented by Mike
DAB digital radio""
Sky channel 0202"
Freesat 729"
Jazz FM smartphone app
Stay tuned to Jazz FM for more details on the upcoming"
2014 Love Supreme Festival
The Modern Jazz Show with Peter Slavid is one of the best
shows on UK Jazz Radio."
There are also other Contemporary Jazz shows such as
Europe Jazz Nordic Sound with Jesper Graugaard and UK and
Europe Jazz Showcase with Brian Soundy"
Also worth a listen are Women In Jazz with Verona Chard and" Vocal Zone with Juliet Kelly.
NPR have a fantastic collection of radio broadcasts,
including Piano Jazz with the late Marian McPartland and
JazzSet with Dee Dee Bridgewater and live broadcasts and
recordings from the Newport Jazz Festival.
!" have 31 different stations covering different
genres and instruments, including Avant Garde, Bass Jazz,
Bebop, Bossa Nova, Gypsy Jazz, Hard Bop, Straight Ahead,
Trumpet Jazz, Vibraphone Jazz and Vocal Jazz."
Although largely presenter-less and commercial free, these
stations rely on automated playlists."
Radio Reverb 97.2 FM, Brighton
The Mystery Lesson"
Playing free jazz and improvised music"
Sunday 9-10pm"
An eclectic mix of genres, some jazz"
Monday 1pm, Wednesday 6pm, Friday 2pm "
Ears Wide Open"
‘Jazz and Obscurity Skanks’"
Wednesday 7-8pm"
Shows are often repeated during the week. "
Check website for details:""
The Brighton Jazz School Podcast
So far Wayne McConnell has interviewed local jazz
musicians Paul Richards, Dave Drake, Terry Pack and
Steve Thompson along with international stars Geoffrey
Keezer, Joey Calderazzo, Joe Locke, Cathy Segal Garcia,
Christian McBride, Gary Burton and Kurt Elling."
Recent editions of the podcast feature pianists Ahmad
Jamal and Eric Reed."
The latest edition features an inter view with Ron
The Jazzwise Podcast
The Jazzwise Podcast is a monthly podcast linked to the
content of Jazzwise magazine for that month."
Hosted by editor Jon Newey and presenter Chris Philips,
the show plays music from the featured artists as well as
music from the review section of the magazine.""
The Jazz Session Podcast
Ja s o n C r a n e , a j a z z f a n a n d s a x o p h o n i s t f r o m
Massachusetts, began The Jazz Session in 2007 and went
on to interview Sonny Rollins, Gary Burton, Ron Carter,
Christian McBride and numerous others."
Thanks to a Kickstarter campaign, The Jazz Session
returned on 1st October 2013 with an interview with
saxophonist Lee Konitz."
Recent editions feature interviews with Shirantha
Beddage, Brian Landrus, Alison Wedding and Danny
You Tube Channels
Jazz Video Guy
Jazz Video Guy, aka Bret Primack, is a former
Downbeat journalist and filmmaker who cofounded the first jazz website, Jazz Central
Station, back in 1994."
The Jazz Video Guy channel now has more than
a thousand videos and nearly 25 million views."
Hi g h l i g h t s i n c l u d e t h e Ha l Ga l p e r Pi a n o
Masterclasses and the short documentary Who Is
Sun Ra?
Jazz at Lincoln Center
T h e Ja z z a t L i n c o l n C e n t e r
channel features lots of behindthe-scenes interviews in segments
entitled In The Studio, as well as
performances in The Jazz Vault.
Frankly Jazz Television
The Frankly Jazz TV show was
broadcast in Los Angeles in the
1960s and featured presenter
Frank Evans interviewing some of
the big names in West Coast jazz."
The channel was started by his
son, Lance Evans, in memory of
his father’s contribution to jazz.
Verdict Jazz
If you want to see highlights of
the gigs that you’ve missed or
simply want to re-live a gig that
you’ve been to at The Verdict in
Brighton, this is the place to go."
S i m o n S p i l l e t t ’s 2 0 m i n u t e
version of Softly As In A Morning
Social Assassin by Jim Hart’s
Cloudmakers Trio
American magazine Jazz Times
has a variety of short video
i n t e r v i e w s o n i t s Yo u Tu b e
channel, mostly with musicians
from the Newport Jazz Festival
and the annual Jazz Cruise"
Jason Moran talking about jazz
Bassist Christian McBride giving
advice to aspiring musicians
Dorian Grey
Dorian Grey, possibly not his real
name, has numerous great videos
posted, including live performances
f r o m O s c a r Pe t e r s o n , Jo e
Henderson, Freddie Hubbard,
Sonny Rollins and more."
Freddie Hubbard with Dizzy
Gillespie, Woody Shaw and Kenny
Garrett playing I’ll Remember
TV Programmes
The BBC Young Musician Jazz Award is the first time
that the BBC competition has included jazz musicians. Copresented by Josie D’Arby and Soweto Kinch, the final
includes a judging panel of Julian Joseph, Trish Clowes,
Django Bates and Jason Yarde, with the five teenage
musicians performing with the Gwilym Simcock Trio.
If you’ve missed any of BBC4s recent jazz programmes
there’s still time to catch up. These include programmes on
jazz vocalists: Nat King Cole: Afraid of the Dark,
Queens of Jazz: The Joy and Pain of the Jazz Divas
and Jazz Divas Gold together with Jazz 625 at the BBC,
Jazz Legends in Their Own Words and Jazz Horns
Programmes only available until Friday 30th May 2014
As part of the Random Acts video shorts series,
saxophonist Ben Castle (no stranger to the Sussex
jazz scene) performs with tap dancer Guillem
Trumpeter Steve Fishwick appears at The Verdict, Brighton
with Roy Hilton’s Jazz Messengers on Friday 30th May.
Friday 30th May
Friday 6th June
Roy Hilton’s Jazz Messengers
The Verdict, Brighton"
Phil Robson Organ Trio perform at
The Verdict. Guitarist Phil Robson is
joined by the excellent Ross Stanley on
organ and Gene Calderazzo on drums.
Don’t miss this all-star line-up featuring
Steve Fishwick on trumpet, Alex Garnett
on saxophone with Roy Hilton on piano,
Dan Sheppard on bass and Bobby Worth
on drums.
Saturday 31st May
Pianist Katy O’Neill returns to
The Verdict with her trio, joined
by vocalist Rebecca Fidler
Nothing is free
Don’t be disappointed
If you are traveling a long
distance, contact the venue
before setting out, in order
to confirm that it is still
going ahead."
Details are assumed to be
correct at the time of
Be on time
The times listed are those given by
the venue. This is normally the
start time so you will have to get
there about 30mins beforehand to
get a seat and settle down.
[R] = Residency
The listed performer plays there
regularly (but may not be there every
week) and may have special guests.
Gigs that are advertised as free
mean that they won’t charge at
the door, but the musicians will
be paid by the venue who rely on
i n co m e f r o m t h e b a r a n d / o r
Please support artists and venues
by buying a few drinks, and
maybe having something to eat.
Keep the noise down
Please remember to switch off
your mobile phone and other
mobile devices."
And don’t talk during the bass
solo (or any solo for that matter).
When should I
When you’re the only
one clapping, it’s time
to stop.
Gig Listings
Andy Williams (guitar) with
Terry Seabrook & Pat
The Snowdrop, Lewes"
8-10:30pm Free [R]"
The Brunswick Jazz Jam
hosted by Paul Richards
The Brunswick, Hove"
8:30pm Free [R]
Jazz Jam with One Hat Trio
The Bee’s Mouth, Hove"
9pm Free [R]
Tom Phelan, Terry Pack & Dan Hayman
The Real Eating Company, Lewes"
7-9pm Free [R]"
Wayne McConnell Trio + Jam
The Verdict, Brighton"
8:30pm Free [R]
Liane Carroll
Porters Wine Bar, Hastings"
9pm Free [R]
Nigel Thomas + Mickey Ball &
Joss Peach
The Lord Nelson, Brighton"
8-10:30pm Free [R]
Jack Kendon + Guests
The Bristol Bar, Brighton"
8pm Free [R]"
The Ghost Notes (Greek gypsy jazz)
The Verdict, Brighton"
8:30pm £5/4
Nigel Thomas + Guests
The Ancient Mariner, Hove"
8:30pm Free [R]
Roy Hilton’s Jazz Messengers
The Verdict, Brighton"
8:30pm £12/9 (see highlights)"
Imogen Ryall
Queen Victoria, Rottingdean"
2-5pm Free [R]"
Steve Aston Gypsy Jazz"
The Office, Brighton"
8:30pm Free [R]"
Steve Aston Gypsy Jazz
The Paris House, Brighton"
4-7pm Free [R]"
Katy O’Neill Trio with
Rebecca Fidler (see highlights)
The Verdict, Brighton"
8:30pm £7/5
The Six Bells, Chiddingly"
1-3pm Free [R]"
Steve Aston Gypsy Jazz
Three Jolly Butchers,
3-6pm Free [R]
Lawrence Jones All Stars
Lion & Lobster, Brighton"
8-10pm Free [R]"
Gypsy Jazz
The Hand In Hand,
8:30pm Free [R]
Gig Listings
Terry Seabrook
The Snowdrop, Lewes"
8pm Free [R]"
The Brunswick Jazz Jam
hosted by Paul Richards
The Brunswick, Hove"
8:30pm Free [R]"
Jazz Jam with One Hat Trio
The Bee’s Mouth, Hove"
9pm Free [R]
Quentin Collins/Jim Mullen
Jazz Hastings"
8:30pm £8
Wayne McConnell Trio + Jam
The Verdict, Brighton"
8:30pm Free [R]"
Tom Phelan, Terry Pack & Dan Hayman
The Real Eating Company, Lewes"
7-9pm Free [R] "
Nigel Thomas + Guests
The Lord Nelson, Brighton"
8:30-10:30pm Free [R]"
Liane Carroll
Porters Wine Bar, Hastings"
9pm Free [R]
Nigel Thomas, + Guests
The Ancient Mariner, Hove"
8:30pm Free [R]"
Jack Kendon + Guests
The Bristol Bar, Brighton"
8pm Free [R]"
Phil Robson Organ Trio"
The Verdict, Brighton"
8:30pm £12/9 (see highlights)"
Imogen Ryall
Queen Victoria, Rottingdean"
2-5pm Free [R]"
Steve Aston Gypsy Jazz"
The Office, Brighton"
8:30pm Free [R]"
Steve Aston Gypsy Jazz
The Paris House, Brighton"
4-7pm Free [R] "
Simon Spillett Quartet"
Chichester Jazz Club"
7:30pm £11
Savannah/Assorted Nuts
The Six Bells, Chiddingly"
1-3pm Free [R] "
Lawrence Jones All Stars
Lion & Lobster, Brighton"
8-10pm Free [R]"
Steve Aston Gypsy Jazz
Three Jolly Butchers, Brighton"
3-6pm Free [R]
Gypsy Jazz
The Hand In Hand, Brighton"
8:30pm Free [R]
On The Horizon
Future gigs
More details to follow in the next issue...
The Verdict, Brighton
Gilad Atzmon’s Orient House"
John Law Trio"
Kate Williams Quartet"
Jazz Hastings
Tuesday 8th July: Pete Burden/
Jack Kendon Quintet"
Tuesday 5th August: John
Horler Trio
Alan Barnes/Art Themen
The Underground Theatre,
Friday 4th July
Gwilym Simcock & Yuri
St. George’s Church, Brighton"
Wednesday 9th July
Love Supreme 2014
Saturday 5th July
Jamie Cullum"
Incognito "
Laura Mvula"
Snarky Puppy"
John Scofield Überjam"
Dave Holland’s Prism"
Lalah Hathaway"
Derrick Hodge"
Nikki Yanofsky"
Sunday 6th July
De La Soul"
Imelda May"
Soul II Soul"
Courtney Pine "
Gregory Porter "
Christian McBride Trio"
Curtis Stigers"
Polar Bear"
Cecilia Stalin"
Laura Jurd
! of great local acts performing at The Bandstand"
Plus lots
! details at
Venue Guide
All Saints Church, The Drive (corner of Eaton Road), Hove BN3 3QE Tel. 01273 733331!
Barney’s Cafe/Bar, 46-56 Portland Rd., Worthing, West Sussex BN11 1QN 01903 527075!
Casablanca Jazz Club, 3 Middle St., Brighton BN1 1AL Tel. 01273 321817!
Charles Dickens, Heene Road, Worthing, West Sussex, United Kingdom. BN11 3RG!
Chichester Jazz Club, Pallant Suite, 7 South Pallant, Chichester PO19 1SY!
Coach and Horses, Arundel Road, Worthing Tel. 01903 241943!
Cubar, 5 Preston St., Brighton BN1 2HX!
Forest Row Jazz Club, The Forest Row Social Club, End of Station Rd, Forest Row, RH18 5DW!
Hand In Hand, 33 Upper St. James’s St., Brighton BN2 1JN Tel. 01273 699595!
Jazz Hastings, The East Hastings Sea Angling Association, The Stade, Hastings TN34 3FJ (near
Jerwood Gallery/Lifeboat Station) Tel. 01424 250221!
Lion & Lobster, 24 Sillwood St., Brighton BN1 2PS Tel. 01273 327 299!
Patcham Community Centre, Ladies Mile Road, Brighton BN1 8TA!
Porters Wine Bar, 56 High Street, Hastings TN34 3EN Tel. 01424 427000!
Queen Victoria, 54 High Street, Rottingdean BN2 7HF Tel. 01273 302 121!
Smalls, The Caxton Arms (basement), 36 North Gardens, Brighton BN1 3LB!
Steyning Jazz Club, Steyning Centre, Fletchers Croft, Church St., Steyning BN44 3YB!
Tel. 01903 814017!
The Albion 110 Church Road, Hove, BN3 2EB !
The Ancient Mariner, 59 Rutland Road (off Portland Rd.), Hove BN3 5FE!
The Bee’s Mouth, 10 Western Road, Brighton BN3 1AE Tel. 01273 770083!
The Bristol Bar, Paston Place, Brighton BN2 1HA Tel. 01273 605687!
The Brunswick, 1-3 Holland Raod, Hove BN3 1JF Tel. 01273 302 121!
The Bugle, 24 St. Martins Street, Brighton BN2 3HJ Tel. 01273 607753!
The Denton Lounge, Worthing Pier, Worthing Tel. 01903 218 250 !
The Dome, Church St., Brighton BN1 1UE (Concert Hall, Corn Exchange, Studio Theatre)!
The Good Companions, 132 Dyke Road, Brighton BN1 3TE!
The Hare & Hounds, 79-81 Portland Road, Worthing BN11 1QG Tel. 01903 230 085!
The Hope, 11-12 Queens Road, Brighton BN1 3WA Tel. 01273 325793!
The Komedia, 44-47 Gardner St., Brighton BN1 1UN Tel. 01273 647101!
The Lord Nelson Inn, 36 Trafalgar St., North Laine, Brighton!
The Mesmerist, 1-3 Prince Albert Street, Brighton BN1 1HE Tel. 01273 328542!
The Office, 8-9 Sydney Street, Brighton BN1 4EN!
The Old Market, 11a Upper Market Street, Hove BN3 1AS Tel. 01273 201801!
The Paris House, 21 Western Road, Brighton BN3 1AF!
The Plough, Vicarage Lane, Rottingdean BN2 7HD Tel. 01273 390635!
The Roomz, 33 Western Road, St. Leonards TN37 6DJ!
The Real Eating Company, 18 Cliffe Street, Lewes BN7 2AJ Tel. 01273 402650!
The Ropetackle, Little High Street, Shoreham-by-Sea, West Sussex, BN43 5EG Tel. 01273
The Six Bells, The Street, Chiddingly BN8 6HE Tel. 01825 872227!
The Snowdrop Inn, 119 South Street, Lewes, BN7 2BU Tel. 01273 471018!
The Under Ground Theatre, (below the central library), Grove Road, Eastbourne BN21 4TL!
The Verdict, 159 Edward Street, Brighton BN2 0JB Tel.01273 674847!
Three Jolly Butchers, 59 North Road, Brighton BN1 1YD!
T he Cr ed i t s
Photography Credits
A special thanks to Mike Guest for allowing The Sussex Jazz Mag to use his photos."
Front cover: courtesy of"
Inside cover: Simon D’souza photographed by Mike Guest, Cecilia Stalin courtesy of,
Jason Henson courtesy of"
p. 4 Simon D’souza and Eddie Myer photographed by Mike Guest"
p. 5 Eddie Myer photographed by Mike Guest"
p. 6-7 Simon D’souza photographed by Mike Guest, Navigation CD cover courtesy of http://"
p. 8 100 Saxophones Rides Again logo courtesy of"
p. 9 Cecilia Stalin courtesy of"
p. 11 Cecilia Stalin cover art courtesy of"
p. 12 Jason Henson courtesy of"
Education logos and photos courtesy of the respective organisations."
p. 20 Full Circle courtesy of Joss Peach"
Broadcasters logos and photos courtesy of the respective organisations."
p. 28 Steve Fishwick courtesy of"
All publicity photos and thumbnail images are used under the fair use terms of Copyright Law.
Next Issue
Previewing more artists performing at the"
2014 Love Supreme Festival
Charlie Anderson!
Sub Editor!
Owned Lark!
Regular Columnists!
Eddie Myer, Terry Seabrook,
Wayne McConnell!
Issue 20
26th May - 8th June 2014
Technical Director!
Steve Cook!
Public Relations & Marketing!
Carmen & Co. and Dave Hill!
Photography Consultant!
Mike Guest!
Financial Consultant!
Chris Sutton!
Our Core Principles
To promote jazz in Sussex
To make a positive contribution to the local jazz scene
No cover price - The Sussex Jazz Mag will always be free
No print - The Sussex Jazz Mag will only be available to download or view online
No corporate advertising. Just local people and local businesses.
Everyone makes mistakes - we aim to correct any serious errors/omissions asap
No staff freebies - no blagging free tickets, CDs, drugs, instruments etc.
No bitching or back stabbing (Why can’t we all just get along?)
No bragging and showing off. (Okay, maybe just a little.)
I can’t think of a tenth one and nine is an odd number...
C o n t a ct U s
Next Issue
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