December 2021

08 Big Band Scene

07 Jazz Essentials

10 Album Reviews

04 Interview: Terry Pack

15 Listings

Cover: Terry Pack by Lisa WormsleyAbove: Jelly Cleaver by Lisa Wormsley

4 SJM December 2021

Terry Pack

SJM December 2021 5

The pandemic has been difficult formusicians, and especially largeensembles. How have you beencoping?I struggled financially, and had to sellthree instruments. My boiler stoppedworking in the autumn of 2020 sothat I have had no heating or hotwater for over a year.I was alone for nearly all of 2020and became depressed and anxiousabout going out. I went out for walksat night to avoid people, and wasunable to meet up with friends evenwhen this was permitted.It took me a while tofeel okay in socialgatherings of more thana couple of people at atime, and I became verynervous and insecureabout my playing aftersuch a long layoff. Thelive streaming concertswith The Cloggz andCharlotte Glasson andthe trio with Darren andMark were nerve-wracking and myplaying wasn’t great .It has taken a long time to rebuildsome self confidence and to feel likemyself again with people, but I feelthat the whole pandemic experiencehas diminished me and left mesmaller in many ways.I spent the spring and summer of2020 reading and keeping fit. I alsodid a lot of writing: I started bywriting a number of charts for avirtual big band recording projectand released a version of ‘All Blues’.There are several tracks in the canfor future release.I wrote a set of arrangements for anew sextet based on my albumPalimpsest. I hope to do a few gigsnext year playing this music with twogroups: one based in Brighton and

the other in Hastings using a pool ofplayers including Josephine Daviesand Robbie Robson.I wrote musical play: a kind ofpantomime based on the Robin Hoodstory, but set in the present in avillage near Nottingham in which agroup of the villagers write aChristmas show without realising thatthey are in the show and that we arewatching it. I hope to record this inthe new year for radio and get itstaged in a year from now.Since January 2021, I have been theMD of the Saltdean Jazz Band,

writing arrangements,and rehearsing for thelast few months.Last August, I taught ona residential coursecalled a Jazz and BluesRetreat at ArdinglyCollege. I really enjoyedit, made new friendsand picked up a fewnew students along theway.I wrote a new album , aconcept album called

‘Peter Peregrine’. I started recordingthis in September last year withmusicians from Trees and old bandmates from my 1970s band TheEnid. I have just finished mixing andmastering the results and amcurrently working on the album cover.I hope to release the album aroundChristmas.I have just started planning andwriting a new album, and hope tocollaborate with my old friend JossPeach on this in 2022.

Tell us about the festival happeningat the Ropetackle in January?Greg Maddocks and Steve Lawlessfrom Trees had the idea to stage aday of music at The Ropetackle topull together a number of musiciansP

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6 SJM December 2021

who have an association with Trees.This will take place on Saturday22nd January 2022 and will featureThe Cloggz, a Bonsai version ofTrees, Hilary Burt’s Blue Calluna, TheMingus Underground Octet, LucyPickering’s Court and Spark, Butxaca,an electric version of the Joss PeachTrio and Greg’s GIN Trio.The music will start at midday andcontinue till 11:00pm. The tickets are£25 for the afternoon or eveningsession and £40 for both.

What plans do you have for 2022?More of the same, really. A newalbum of new material with Joss andothers, the new sextets and themusical. And doing as much playingas I can. There are a couple moreJazz and Blues Retreats coming upnext year: one at Easter from 15th to

18th April and another one from21st to 26th August. The tutors aregreat and the venue is very posh.

Conference of the TreesJazz Festival at Ropetackle Arts

Centre, ShorehamSaturday 22nd January, 2022

1pm: GIN Trio2pm: Blue Calluna

3pm: Terry Pack, Joss Peach, MiloFell4pm: Mingus Underground

6pm: Butxaca7.15pm: Bonsai

8.30pm: Court and Spark9.45pm: The Cloggz

Tickets here

SJM December 2021 7

Jazz Essentials

Myra Melford TrioJump

(Enemy)

After a run through the best ofColtrane, Miles, Ella et al, I want go abit leftfield for this essential choice.Someone you might not even haveheard of, but on the strength of thisalbum, a woman who surely deservesyour close attention.

Over the years, a lot of greatjazz gigs have stayed in my memory,but none more clearly than the one Iattended in London’s SouthbankCentre in 1990. A group of artistsfrom New York’s Knitting Factory clubwere on tour, among whom wereMarc Ribot, Sony Sharrock, and, tome, the unknown pianist MyraMelford. When it was her turn toperform, she strode onto theplatform alongside bassist LindseyHorner and drummer ReggieNicholson. She was a small, elfin-likewoman whose hands looked barelyable to reach an octave on thekeyboard. She sized up the pianoand then, with an explosive eruption,launched into Jump, the title track ofher debut album. The piece itselfstarts with an exuberant solo pianointroduction before, after a slightpause, she establishes a solid risingriff on which she is soon joined bythe band. When she solos, sheinitially sticks to the riff but then getsmore and more free, her hands flyingover the keyboard in percussiveattack. Then it’s back to the riff, andout, eight minutes of perfection, therest of the album matching it inintensity and interest.

There are many vocal piecescalled Jump – think Van Halen, or the

Pointer Sisters – but this dynamicinstrumental knocks them all out ofcourt. For Melford is an adventurouspianist, never afraid to take risks orexplore new territory.

Nothing Melford has producedsince has quite matched thisastounding debut. She has keptsome good company – working withboth saxophonist Joseph Jarman fromthe Art Ensemble and violinist LeroyJenkins, for example – but has rarelymaintained a steady band orremained on one label for long. Muchof her work is collaborative, notablywith other women, and she hasrecorded only one solo album, but ascollaborators move on, she has torebuild. But throughout, she hasbeen a consistently interesting andinnovative musician, whose debutalone should command our attention.

Simon Adams

8 SJM December 2021

Seasonal greetings. If all goes toplan, big band activity in Sussex isaround half of pre-pandemic levels,with at least seven gigs planned forthis month. Details can be found inthe listings section of the magazine.Looking ahead to 2022, it looks asthough there are at least threeregular monthly gigs planned.

All this depends, of course, onwhether or not we go back underlockdown conditions. The number ofreported Covid infections, locally andat national level, are already at thelevels when the third lockdown wasannounced. And rising. On the otherhand, the number of Covid-19patients in hospital, and the numberof deaths, is about a third of those ayear ago, so it is difficult to foresee ifany action is about to be taken.

But the situation is complicated bythe arrival of the omicron(B1.1.529) variant from SouthernAfrica. Which is believed to besubstantially more infectious than thecurrently prevailing delta (B1.617)variant. It is not known yet, ifsymptoms will be more, or less,

severe. Or if vaccine and antibodyprotections will become lesseffective.

Since big bands tend not to wait foran official lockdown beforesuspending activity, I stronglyrecommend that you contact thevenue beforehand to check whethera gig is still on.

There have been some recentdevelopments on the scene. TheBexhill based big bands, the EasyBeat Orchestra and Contra Big Bandformerly run by Nick Newman, whodied last year, have now merged intothe Contra Big Band, which is nowrun by keyboard player and musicteacher, Veronica (Ronnie) Parker.Rehearsals have been underway for afew months, with the aim of startingpublic performances next spring/summer.

Other bands that are rehearsingregularly, and hoping to resumegigging in 2022, include Big BandSounds, the Les Paul Big Band, andthe Phoenix Big Band. Big Band

Big Band Scene

Patrick Billingham

SJM December 2021 9

Sounds has a vacancy for a trumpetplayer. If you know of anyone pleasecontact Darren atukbigbandsounds@gmail.com.

The Fred Woods Big Band and ThePerdido Swing Band are alreadyplaying in public. As has been thenearly all female band Some Like ItHotter (pictured with vocalist AndyWilliams). Which, at the moment, islooking for a female rhythm guitarplayer and trombonists. Males arewelcome, but might have to wear adress occasionally. If you areinterested contactjowood01@gmail.com. They wouldwelcome collaboration with dancers.

There are three new bands, or atleast bands I hadn’t heard of. TheOrechestra run by Pete Fletcher,meets at the Ore Community Centre

on Mondays, 8-10 pm. They are veryshort of brass, but don't need saxes.Andy Panayi’s Big Band rehearses atthe Fishermen’s club in Eastbourneon the first Monday of the month.Rehearsals have stopped for this yearbut resume in January. This band

plays a mixture of big bandstandards with some challengingcharts thrown in for good measure.Gigs are planned for March and Julyin 2022. For more information,contact Andy(apanayisax@gmail.com).

The Lewes Big Band has emergedfrom the ashes of the Lewes YouthBand. The music and the players arethe same but the main difference isthat they got too old! The Lewes BigBand allows the friends who playedin the Lewes Youth Band to continueto bond and perform together for theforeseeable future as well as meetingnew like minded friends along theway.

Next month: Whatever news there is,assuming we’re still out of lockdown.If there is anything such as feedbackon this column, that you would likeme to include in the January 2022Big Band Scene, please send it to meby Monday 20th December, atg8aac@yahoo.co.uk.

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10 SJM December 2021

Jelly CleaverForever Presence

(Bandcamp)

Jelly Cleaver has emerged from themighty Tomorrow’s Warriorsorganisation and straight into themedia eye: she has received theSteve Reid Award, is a Serious TakeFive artist, was nominated for anIvors Composer Award, and hadairplay on Jazz FM and BBC 6 Music,with support from Gilles Petersonand Cerys Matthews indicating thecrossover appeal of this set oflanguidly atmospheric songs. Temposare relaxed, the rhythm arrangementsare spacious and flowing; bass anddrums set up loose-limbed groovesand Lorenz Okello-Osengor’s tinklingrhodes and Katie Moberly’s cellocreate washes of atmospherictexture over which James Akers’attractively acidic tenor is allowed toroam at will. The jewel at the heart isCleaver’s own clear, limpid-toned butemotionally charged vocals;sometimes, as on the title track, hervoice doesn’t emerge until the moodhas been thoroughly explored by theband, but she always commandsattention. James Aker is joint star of

proceedings and Prayer For Rojavacontrasts his grainy, impassionedattack with Cleaver’s calm statelyvocal to memorable effect; We HaveKnown Love has a solemnlyportentous spoken word manifestowhose exact meaning may eludesome listeners, and closing trackBlack Line uses Hammond organ andgritty guitar to shift the moodtowards a satisfying prog-psychheaviness. The mood is so relaxedthat the album seems almost to havebeen spontaneously improvised inthe studio, but the band are switchedon and empathetic enough so that itdoesn’t seem baggy or over-stretched and Cleaver’s guiding handis present throughout to create analbum with a powerful atmospherethat lingers on after each listen.

Eddie Myer

Jelly Cleaver, composition, production,guitar, vocals, synth, percussion;James Akers, saxophone; LorenzOkello-Osengor, piano, rhodes,hammond organ; Katie Moberly, cello,electric bass; Hamish Nockles-Moore,double bass; Tash Keary, drums,percussion.

Album Reviews

SJM December 2021 11

Kevin FigesWallpaper Music

(Pig Records)

The UK jazz scene underwent somefascinating mutations from the late60s onwards as a new generation ofplayers started to redraw theboundaries of the music. Freed fromsubservience to the declining bopidiom and rejecting the hegemonicinfluence of the USA (often frompolitical as much as artisticmotivations), they drew inspirationfrom such diverse sources as thehomegrown prog rock scene and theEuropean avant-garde to develop asound that was very distinctive, ifhard to categorise. Kevin Figes wastaught by Elton Dean, the SoftMachine saxophonist whoserecorded legacy typifies the free-wheeling, no-boundaries approach ofthat generation, and this albumreframes their unique sound for2021. There are proggy, twistyunison passages, (as on opener MoreEqual Than Others), odd timesignatures aplenty and some lovely

textural work from Figes’ full-tonedflute and Jim Blomfield’s array ofvintage-sounding keyboards, andFiges’ writing for the well balancedband is constantly full of surprises.But the dominant voice throughout isBrigitte Beraha’s - deploying the fullrange of her formidable techniqueshe goes from Art Bears or HenryCow style pastoralism to Ivor Cutlerwhimsicality to free-improv squealsand whispers, often all in the sametune. There are echoes of Zappa inhis 1960s Mothers period but theoverall sound is very much from theBritish arm of the Europeanprogressive movement: this uniquerecord is packed with character andimagination and effectively reframesa fascinating musical legacy for the21st century.

Eddie Myer

Kevin Figes, alto sax, flute; BrigitteBeraha, vocals; Jim Blomfield,keyboards; Ashley John Long, bass;Mark Whitlam, percussion.

12 SJM December 2021

Harvey / O’Higgins ProjectThat’s The Way To Live

(Ubuntu)

“The musical landscape that theHarvey / O’Higgins Project inhabits isneither innovative nor fashion led”claims the accompanying pressrelease, and this is not intended aseither an excuse or an apology.Graham Harvey is one of the UK’sfinest exponents of the bop pianotradition, and his solo on I Wish IKnew is a masterpiece of WyntonKelly-esque poise and swing, whilehis block chording on Chlo-E wouldhave delighted Red Garland; DaveO’Higgins is justly renowned as aplayer, composer and educator in thefield of bebop and its successors,and his big, centered tone,melodically inventive imagination andsure sense of swing and thematicdevelopment, rooted in DexterGordon but with plenty of originalcharacter as well, have made him afirm favourite on the national clubscene. Add such eminently simpaticoelements as Jeremy Brown’s deep,woody tone and impeccable swing

and the crisply tasteful ride andcrackling snare of Josh Morrison andthen sit back and enjoy the results:an albums worth of beautifullyrendered standards and originals, allshot through with hints of the blues,sitting squarely in the pocket. Specialmention must go to the warm,thoroughly organic soundingrecording capture as well.

Eddie Myer

Graham Harvey, piano; DaveO’Higgins, tenor sax; Jeremy Brown,bass; Josh Morrison, drums.

SJM December 2021 13

Alex HitchcockDream Band

(Fresh Sound New Talent)

This latest release from Hitchcock isan ambitious and stunningly realisedproject that justifies the continuingsupport he’s received from thetastemaking Fresh Sound New Talentimprint. With an impressive cast listthat features old colleagues from hisquintet, quartet, and the AUB project,new kids on the London block(Gordon, Kayser, Stoneman) andsome visiting American superstars(Cheek, Brown, Adewumi), in ways itfeels like a summary of his recordedcareer so far. One might be forgivenfor thinking that Hitchcock wasn’table to choose which band hewanted to work with next so decidedto work with all of them at once, butin fact the album has a strikingcoherence thanks in part to theunifying presence of the twovocalists and Hitchcock’s ownassertively modernistic, superblycontrolled saxophone playing. Part ofthe fun is guessing who plays what:Jason Brown’s unmistakeablepolyrhythmic attack shines out onYeshaya, Will Barry and Shane Forbesbuild up a mighty head of steam on

To Love Itself alongside Cherise’sclarion wordless vocal: she returnsalongside Chris Cheek and DavidAdewumi on the album highlightFTSL - Hitchcock holds his own withfellow Fresh Sound artist Cheek fortonal control across all the registers,harmonic and melodic ingenuity andrhythmic accuracy. The compositionsare modernistic with plenty ofemphasis on rhythm and surprisemetric and harmonic twists butremain eminently listenable; Midori’scello and vocals provide the perfectcomplement to Hitchcock’s writing,simultaneously introspective androbustly assertive. A triumph.

Eddie Myer

Alex Hitchcock, saxophone; CheriseAdams-Burnett, voice; Chris Cheek,saxophone; David Adewumi, trumpet;Deschanel Gordon, piano; Ferg Irelad,bass; Jas Kayser, drums; Jason Brown,drums; Joe Downard, bass; LuisitoQuintero, percussion; Midori Jaeger,voice, cello; Noah Stoneman, piano;Shane Forbes, drums; Will Barry,piano; Will Sach, bass.

14 SJM December 2021

Kinetica BlocoLegacy

(Banger Factory Records)

Kinetika Bloco are a phenomenon -over the last twenty years thepercussion and horn heavy collectivehave evolved their own irresistibleversion of carnival music, drawing onthe many traditions of the BlackAtlantic, while acting as a hothousefor talent development forgenerations of young Londonmusicians. Notable alumni includeClaude Deppa, Nubya Garcia, TheonCross, Sheila Maurice Grey, ArtieZaitz, David Mrakpor, Reuben James,and trumpeter and bandleader MarkKavuma, who returns to support hisold mentors by putting out theirdebut album on his Banger Factorylabel, newly founded for the expresspurpose of supporting this fertilescene. Proceedings start off with abang - their version of Caravan re-invigorates the jam session warhorsewith the propulsive dembow grooveand punchy horns you’d expect fromcontemporary carnival but withswirling organ added to expand thepalette. Things really lift off whenRemedy presents a tuba andpercussion driven reggae groove with

lush horns, steel pan and somecutting solos that captures theenergy of the collective beautifullyand makes their London-to-Caribbeanroots explicit; Commander’s Callevokes the spirit of soca, and PapaFox adds more Hammond and guitarfor an uplifting gospel feel. There’ssome spoken word inspirationalexhortations in The Ted WilliamsVillanelle reminding us that KinetikaBloco are a registered charity andtheir good works are manifest, butthere’s nothing didactic or self-consciously worthy about this release- it’s a truly joyous recording thatcaptures the spirit of young Londonand demonstrates why it’s such awellspring of creative musical talent.

Eddie Myer

15 SJM December 2021

Listings

Mondays

Every Monday: The Monday Boys, The Paris House, Brighton 2pm-5pm Free

Every Monday: Jazz at Saint James Tavern, Kemptown, Brighton 8pm Free

Every Monday: Jazz at The George Payne, Hove 8pm Free

Every 2nd Monday of the month: Guest + Jam, The Lewes Road Inn, Brighton

13th Dec. Hullabaloo Quire and Liane Carroll at St George’s Church, Kemptown, Brighton.

Doors 7:30pm £10/7 advance, £13/10 on door. Tickets here.

Tuesdays

Every Tuesday: Paul Richards Quartet with Guest at The Brunswick, Hove. Doors 7pm, Starts7:30pm £10 in advance

Every Tuesday: Jazz at The Hare & Hounds, Worthing. 8:30pm Free (c) Check website here.Guests: 7th Matt Wates; 14th Sara Oschlag

7th Dec. Deschanel Gordon Trio at East Hastings Sea Angling Association, Hastings. Doors7:45pm Music 8:30pm. £10.

14th Dec. The Ronnie Smith Big Band at Hottington Manor, Edburton, Road Henfield. 8:00 -10:15 pm Free (c).

Wednesdays

Every Wednesday: Paul Richards and guests at Southern Belle, Waterloo Street. 8pm Free

Every Wednesday: Jason Henson & Friends at The St James Tavern, St James Street, Brighton8:30pm Free

Every Wednesday: Chris Coull Quartet at Speakeasy above The Wick, Hove 8pm Free.

1st Dec. The Fred Woods Big Band at the Horsham Sports Club, Cricketfield Road, Horsham.7:45 pm £2 (Club members free.) [R] (c)

8th Dec. Jo Fooks with the Neal Richardson Trio, Splash Point Jazz Club, Seaford. 7pm. Detailshere.

22nd Dec. The Lewes Big Band Christmas Concert at St Michael's Church, 156, High Street,Lewes. 7pm - 10:30pm £8.

Thursdays

2nd Dec. Jason Henson at The Thomas Kemp, Kemptown, Brighton. 8pm Free.

9th Dec. The CH Big Band at Christ’s Hospital Theatre, Christ’s Hospital School, The Avenue,Horsham. 8:00 pm £12/£11/£5.

More details of performances and live streamscan be found on our listings page:www.sussexjazzmag.com/listings

SJM December 2021 16

Fridays

Every Friday: Jason Henson & Friends at The Better Half, Hove. 2:30-5pm Free

3rd Dec. End of Season Concert at Jazz At St Andrews with Sara Oschlag, Chris Coull, AndyPanayi and friends. St. Andrews Church, Hove. Doors 5:30pm, Music 6pm. £10/£8 Ticketshere.

3rd Dec. The Rascals of Rhythm, Steyning Jazz Club, Steyning Centre, Fletchers Croft, Steyning,West Sussex BN44 3XZ. Doors 7.15pm Music 8pm-10.30pm. Admission £12, Members andStudents £7. www.steyningjazz.co.uk No bar, byo.

10th Dec. Neal Richardson Duo at The Long Man Brewery, Litlington. Details here.

Saturdays

Every Saturday: Jazz at The Paris House, Hove. 4-7pm Free

Every Saturday: The Blue Cafe Duo (Magdalena Reising & Shane Hill) at The Emerald Lounge,Brighton. 8pm Free.

4th Dec. A Salute to Humphrey Lyttelton at Connaught Theatre, Worthing. 7:30pm £21 Detailshere.

Sundays

Every Sunday: Amuse Manouche at The Bootlegger, Brighton. 4-6pm Free

Every Sunday: Jazz at The Old Albion, Hove. 5-7pm Free

Every Sunday: Jazz at The Monarch Bar, Brighton. George Trebar and guests 6:30-10pm Free5th Dec. Chris Coull and Katie O’Neil piano12th Dec. Yuko Yukoi sings Samba guest singer with Matt Wall19th Dec. Benoit Villefon and special guest Alex Bryson from NYC on piano paying tribute toNat King Cole.

Every Sunday: Paul Richards and guests at Stirling Arms, Hove. 7pm Free

Every Sunday: Jason Henson & Friends at The Hand in Hand, Kemptown. 7pm Free

Every Sunday: Jazz at The Paris House, Hove. 7-9pm Free

5th Dec. Sounds of Swing Big Band at BIBENDUM bar & restaurant, 1 Grange Road,Eastbourne 12:45 - 3:00 pm [R] (c).

12th Dec. Dinner Jazz with Neal Richardson solo, The View, Seaford. 12.30pm. Details here.

12th Dec. Len Phillips Swing Orchestra ‘Swingin’ Christmas’ featuring Gary Williams and LouiseCookman at the Congress Theatre, Carlisle Road, Eastbourne. 3pm £22/£20.

19th Dec. The Sussex Jazz Orchestra Seasonal Special, with guests, at The Round Georges,14-15 Sutherland Road, Brighton. 7pm - 9pm Free (c)

SJM December 2021 17

Further Afield

1st Dec. A Swinging Christmas From The Gabriel Latchin Trio's at St Marys Church, Guildford.

16th Dec. Christmas Concert with Polly Gibbons and James Pearson at St Johns Church,Farncombe.

On The Horizon

Conference of the Trees Jazz Festival

Ropetackle Arts Centre, Shoreham. Saturday 22nd Jan.

GIN Trio, Blue Calluna, Joss Peach Trio, Mingus Underground, Butxaca, Bonsai, Court & Spark,The Cloggz. Tickets here.

New Generation Jazz Festival

Ropetackle Arts Centre, Shoreham. Fri. 4th Feb - Sun. 6th Feb.

Fri. 4th Feb. Kansas Smitty's House Band + Xhosa Cole

Sat. 5th Feb. Chelsea Carmichael + Daisy George

Sun. 6th Feb. Alex Hitchcock's Dream Band + Binker Golding Quintet

Tickets here.

Theon Cross at Patterns, Brighton on Sunday 30th January 2022

Melt Yourself Down at Patterns, Brighton on Thursday 3rd March 2022

Love Supreme Festival 2022

Glynde on 1st – 3rd July 2022

Erykah Badu, TLC, Tom Misch, Lianne La Havas, Ezra Collective, Sister Sledge, Charles Lloydfeat. Bill Frisell, Candi Staton, Mulatu Astatke, The Brand New Heavies, Franc Moody, GaryBartz & Maisha, Matthew Halsall, emma-Jean Thackray, JulianLage, Nala Sinephro, MF Robots,Sarathy Korwar, Isaiah Sharkey, Rudresh Mahanthappa, Soccer96, Bel Cobain, Georgia Cecile,Fergus McCreadie, Joe Stilgoe & The Entertainers, Michael Janisch, Ife Ogunjobi, Rob Luft,Corto.alto, Matt Carmichael and others. Details here.

SJM December 2021 18

Issue 119

December 2021

Editor

Charlie Anderson

Sub-Editor & Photography

Lisa Wormsley

Contributors

Simon Adams

Charlie Anderson

Anya Arnold

Peter Batten

Patrick Billingham

Jim Burlong

Sam Carelse

Eddie Myer

Patricia Pascal

George Richardson

Gina Southgate

Simon Spillett

Lisa Wormsley

www.sussexjazzmagazine.com

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Sussex Jazz Magazine is a monthlymagazine that covers jazz across the

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