smallplanetmusic

The HSBC Brecon Jazz festival (August 9-12) has launched the strongest Stroller programme in its 24 year history with 54 quality performances across the weekend providing the ideal way to enjoy some of the finest names in jazz, alongside a mix of styles from funk to Latin.

The famous Brecon Jazz Stroller ticket is available for the Friday evening 10, Saturday 11 and Sunday 12 August, or you can get a Weekend Stroller to cram in a packed programme that features such luminaries as Scott Hamilton, Clark Tracey, Julian Seigel, Alan Barnes, Don Weller, John Donaldson, Jim Mullen, Art Themen, Simon Spillett, John Critchinson, Mornington Lockett, Willie Garnet’s Big Band, Geoff Eales among many others, including a street music line-up in the town centre on Saturday and Sunday.

And to make it easier for Strolling visitors, venues at this year’s event host their own mini-festivals, including solid jazz at the Castle Hotel; the best of British blues at the Beacons Venue; and young Welsh musical talent at the Bishop’s Garden, to make it easier for audiences to indulge themselves in one location.

Launching the Stroller programme, Festival Director Jim Smith says: “Elaine Williams has put together probably the strongest Stroller line-up in the festival’s history, with a rich mix of musical styles and some interesting programming that has created opportunities for people to enjoy longer periods of the music they love in the same venue.”

Highlights of the top quality musicianship on show include: The Barcodes with Alan Barnes, Jim Mullen, Clare Hirst and Jacqui Hicks, a unique and exceptional trio mixing blues and jazz return to Brecon with their four special guests; a first Brecon appearance for both Ben Waters, one of the best boogie-woogie pianists in the UK, and Chris, brother of Mick, Jagger. Clare Hirst Quartet – ‘a promising and original quartet’ (Jazz Rag); a man regarded as one of the world’s great tenor saxophonists, Danny Moss performs here with his Quartet;

Eddie Parker’s Mr Vertigo, featuring one of the world’s finest jazz flute players who also runs the festival’s education programme with youngsters across Wales and the South West; and vocalist Imelda May who played Brecon in ’06 with Blue Harlem returns with her own band.

Keith Little’s Hot Six specialise in early swing music, Dixieland and shuffle; frontman for Bill Whyman’s Rhythm Kings, British singer, pianist and guitarist Mike Sanchez is one of the most exciting and charismatic performers of Rhythm & Blues and Rock 'n' Roll in the world today; Mornington Lockett, one of Britain’s leading saxophonists appears with John Gibbons; James Taylor Quartet guitarist Nigel Price plays with his own Quartet; and one of Australia’s finest singers, Nina Ferro, described by legend Tony Bennett as ‘a fabulous performer with a knockout voice’ goes through the standards.

There is award winning saxophonist, Paul Towndrow and his Quartet; one of the country`s finest acoustic guitarists, Pete Smith plays with fellow guitarists Chris Williams; composer, guitarist and internationally acclaimed recording artist Roland Chadwick teams up with ex-Yardbird Alan Glen as a guitar and harmonica blues duo; Rosanno Sportiello, Italian star of swinging jazz piano offers a solo performance on Captains Walk; Scott Hamilton, a Patron of Brecon Jazz and an ever-present for all but one of the last 20 years returns; Stran Tracey Quartet frontman, Art Themen runs through the Sonny Rollins Songbook and features in The Three Tenors with Don Weller & Mornington Lockett; and there is a magnificent seventeen piece swinging big band led by veteran saxophonist Willie Garnett.

The festival is once again committed to showcasing Welsh musical talent, with The Amigos; Dave Stapleton Quintet, Heavy Quartet; Wonderbrass and beautifully named Buena Risca Social Club prominent. Brecon Jazz also continues its longstanding partnership with the Royal Welsh College of Music and Drama and welcomes a new, local community association with the Greater Gwent Youth Big Band.

To book tickets, find further information, or get the latest jazz news, please go to www.breconjazz.co.uk or call 01874 611622 (Mon-Sat 10am – 5pm).

Editor’s Notes

A Weekend Stroller offers a feast of great jazz music for just £44. A Saturday Stroller costs £27.00 or a Sunday Stroller just £22.00. A Friday evening Stroller costs £10.00 This year we have introduced a Family Day or Weekend Stroller, children age 4-14 years enjoy a 50% reduction when accompanied by an adult Weekend Stroller.

As for the concert programme, Brecon Jazz 2007 features an Artist-in-Residence for the first time, giving the privilege to saxophonist and composer Joe Lovano who performs on both Friday, when he teams up with the BBC Big Band for a UK exclusive, and Sunday night when he leads an exciting line-up of pianist Gareth Williams and great rhythm section of Steve Watts and Martin France – and Joe also finds time to give a masterclass for students of the sax.

The concert programme also features award-winning altoist Alan Barnes; bluesman Mose Allison; Jools Holland and Lulu; the Mulgrew Miller Trio; Mica Paris soaring through her soul set; and June Tabor, better recognised as a folk singer, in a cross-genre collaboration with saxophonist Iain Ballamy and BBC Jazz Award winner Huw Warren; plus the multi-talented Curtis Stigers bringing Sunday night to a close in the Watton Marquee with his first Brecon date.

They are joined by John Law, one of Europe’s most adventurous pianists; Mercury Prize nominee Zoe Rahman; emerging vocalist Imelda May; the power and groove of Tim Richards; Denys Baptiste, Gary Crosby et al line up for Jazz Jamaica’s return to their Jamaican roots; young Italian pianist Rossano Sportiello plays the traditional Brecon Cathedral spot; and there are world music essences from Eduardo Niebla Experience, and Roberto Pla’s Latin Jazz Orchestra.

And in the run-up to next year’s silver anniversary there is a special concert at the Market Hall on Saturday with a gig by the Mingus Dynasty Band dedicated to the memory of the late Jed Williams who was Artistic Director of Brecon Jazz from 1984 to 2003.

HSBC returns in 2007 as title sponsor, with S4C as Broadcast Partner for an international landmark cultural event that now boasts Welsh Assembly Government Major Event status – First Minister and Jazz fan Rhodri Morgan hasn’t missed a beat in 24 years.

For further information, please contact Tim Powell on 07939 571 553 or email tim@forumforcommunication.com

**************************************************************************************************

BRECON JAZZ FESTIVAL 2007

**************************************************************************************************

COMMENTS:

Phil Reardon Smith from Cardiff
Value for money! Brecon stroller is £44, Upton is £45 (£50 on the day) and Bude is £91 (albeit for a few more days) and the Brecon programme is far stronger, more venues and is still by far the best Jazz festival in the country. 2007 was a fab year, great crowds, plenty of sunshine and exceptional value for money...
Thu Aug 16 11:06:38 2007

*********************************************************************************************************
Caroline from Cardiff
I have been attending Brecon Jazz for many years now...thought this years entertainment provided on the stroller ticket was excellent! Far surpassed previous years quality. Was a bit peeved couldn't get to see Jools but have to say that Roberto Plas @ the Market hall soon made up for that, it was amazing!
Wed Aug 15 11:39:48 2007

*********************************************************************************************************

Carolyn Gammon, Neath
Having attended Brecon Jazz festival for the last ten years, I have watched with horror as it has recently become more corporate and less fun. My experiences in 2005 convinced me not to return in 2006, as the laid-back feel and carnival atmosphere was noticably absent. However, I decided to give Brecon another chance and returned this year to find some - though not all - of the old Brecon magic has returned. Admittedly, the weather helped, but I do feel that the organisers have learned from the mistakes of 2005 (and, having read the very poor reviews, 2006). The town centre was again closed to traffic, marking the return of street music. The fantastic Bovril Sisters performed on the museum steps, keeping crowds of people entertained throughout the weekend. Although I agree with the comments about the ever-increasing price of the stroller tickets (£44!), the quality and diversity of the bands on offer was impressive. Imelda May was amazing and well done Brecon for bringing back Mike Harries' Root Doctors - Brecon just isn't Brecon without them!
Wed Aug 15 09:25:32 2007

*********************************************************************************************************

Karen Moss, Bicester.
Am at the Brecon Jazz Festival again in 2007 and once again the ambience and general party spirit is second to none. The artists get better every year and the crowds get bigger. Look out for Jess Childs if you get the chance as you will be the first to see an up and coming star. She was playing in the A Frame Gallery in the Bulwark and the crowds could not get enough. Fantastic - thank you Brecon once again.
Mon Aug 13 09:35:03 2007

*********************************************************************************************************

CRITICS’ REVIEWS:

The weather was gloriously hot and sunny on a day that found me perusing the delights on offer on the Stroller programme. For me the line up was musically stronger than it has been for a number of years so congratulations to Stroller Programme co-ordinator Elaine Williams for that. I certainly enjoyed what I heard this year commencing with the Geoff Eales Trio at the Castle Hotel as they paid tribute to the Jazz Piano Legends. Eales is something of a local hero and a Brecon regular and his rumbustuous style of piano playing has attracted a considerable following. His recent trio album "The Homecoming" has received great critical acclaim nationally and the Castle was packed to the rafters for this gig. Eales was joined by the masterful bassist Roy Babbington who contributed many excellent solos himself. Drummer Mark Alliss stood in for the album’s Mark Fletcher and acquitted himself well.

Eales and his colleagues commenced with full on versions of Oscar Peterson’s "Night Train" and Fats Waller’s "Honeysuckle Rose", the latter containing a quote from "I’m Beginning To See The Light". Errol Garner’s "Misty" was the first ballad item and Eales followed this with a solo rendition of "Tea For Two" in the bravura style of Art Tatum. Dave Brubeck’s "Take Five" threw in a quote from "My Favourite Things" and also included a solo from the impressive Alliss. The fierce swing of Bud Powell’s "Bouncing With Bud" was particularly enjoyable and Eales even found room here for a snatch of Grieg’s "In The Hall Of The Mountain King". Bill Evans’ "Waltz for Debby" and Keith Jarrett’s beautiful melody "My Song" cooled things down and completed the tour of the piano legends. The trio concluded the set by playing a couple of Eales originals from "The Homecoming" CD. It had been an enjoyable set and it was very warmly received. It is probably fair to say that the rollicking up-tempo items in the style of Peterson, Waller, Tatum and Powell were more convincing than the ballads but overall this was an excellent start to the day.

Even better was to come with The Three Tenors down at Captain’s Walk. Despite the slightly naff but annoyingly apposite and eminently marketable soubriquet this was undoubtedly THE gig of the stroller programme. Three of Britain’s top tenor saxophonists, Art Themen, Mornington Lockett and the giant figure of Don Weller, no doubt in the Pavarotti role, were teamed with an all star rhythm section consisting of John Critchinson (piano), Andy Cleyndert (bass) and Spike Wells (drums).It sounds as if it shouldn’t work but the music was superb and in a surprisingly democratic line up there were fine solos from all the members of the rhythm team as well as the three horn men.The material included the late (and much missed) Bob Berg’s blues "Friday Night At The Cadillac Club" and Toots Thielman’s waltz "Bluesette". The latter also featured the idiosyncratic Themen on soprano saxophone, playing in a style that can only be described as "delightfully squiggly". Don Weller’s breathy tenor was the cornerstone of the ballad "Easy Living" which also featured an unaccompanied solo passage for the three horns. Weller’s own "Round The Twist" was the sole original and was a high-octane delight as was the closing "Blues Walk". With great soloing from all three principals and the swinging backing of a stellar rhythm section this was a delight from start to finish and ended all too soon.

Next to the Beacons Venue for Eddie Parker’s group Mr. Vertigo. Fondly remembered as the flautist with Loose Tubes, Parker’s band featured long term associates Julian Nicholas (saxophones), Pete Saberton (keyboards) and Steve Watts (electric bass) plus another ex Tube in the form of guitarist John Parricelli with drummer Mike Pickering completing the line up.The music was an eclectic and enjoyable mix of influences ranging from jazz to folk and Brazilian to classical. Parker’s announcements and song titles displayed a very British sense of whimsy in the best Loose Tubes tradition. Musically there was fine soloing from the front line instrumentalists with everything anchored by the solid drumming of Pickering. Apart from the opener, John Coltrane’s "Expression" the material comprised entirely of Parker originals. "Tidenham Chase" originally appeared on the 1993 album "Transformation of The Lamp (FMR Records) credited to the Eddie Parker Group. The folk influenced "Delia Smith" featured Nicholas on soprano sax whereas "I Worry" displayed a Brazilian influence and featured fine solos from Saberton at the electric piano, Parker and Parricelli. "Fur Elaine" again saw Nicholas on soprano soloing over the powerful rhythmic drive created by Pickering, Watts and Parricelli. The guitarist was clearly enjoying himself by now and turned in a stunning rock influenced solo. "Counterel" was followed by the closing "Earthman", a dynamic offering in 5/4 with a towering tenor solo from Nicholas and effects drenched guitar from Parricelli. Sound problems early in the set saw Nicholas leave the stage and march purposefully to the mixing desk to remonstrate and the band was never entirely happy. However their accessible blend of bright, breezy and whimsical fusion coupled with top class musicianship was warmly received by an enthusiastic crowd. In the end the gig was a triumph and Eddie sold out of his CD "Eddie Parker’s Mr Vertigo Live At The Vortex". Not a bad day’s work then. If you missed out on a copy go to Eddie’s informative website www.eddieparker.co.uk where the album is available as a download.

We strolled back across town to the Castle where, in a change of programme saxophonist Clare Hirst appeared with her quartet. The line up also showed several changes to the one advertised with Nick Ramm coming in on piano, Tim Robertson on bass and Pat Levett at the drums. The programme consisted of a number of standards interspersed with Hirst originals. The opening "Lover Man" was given a distinctive Latin twist and featured Hirst on tenor. She then switched to soprano for the shuffling "Pockets", a most engaging composition. It was back to the tenor for the ballad "Three Little Fishes" and the following "What Now". Clare Fischer’s gorgeous melody "Morning" saw Hirst back on soprano with Robertson on six string electric bass. There was an excellent dialogue between Ramm and Levett. I was impressed with Ramm’s thoughtful playing throughout. He contributed a number of excellent solos and it was interesting to see him in a straightahead context. Previously I have seen him with Oriole, Jonathan Bratoeff and Fulborn Teversham, often using an electric keyboard. Hirst’s tune "Seven" closed the set, one that in many ways didn’t quite take off as it might have. The personnel changes may have had something to do with it and Hirst’s hesitant announcing style, hampered by a less than helpful vocal mic, failed to really grab the audience. Perhaps her other half Alan Barnes could help in this department. Last time I saw him he was a laugh a minute.

The young Scottish alto saxophonist Paul Towndrow made a huge impression when he appeared in Brecon in 2004 and I have been an admirer of his work ever since. His latest release, a sextet album entitled "Six By Six" has just been released on his own Keywork label.

Towndrow brought his quartet to Brecon featuring his regular drummer Alyn Cosker and with Tom Gibbs coming in on piano and the experienced Mark Hodgson on bass. They commenced with "Rubix Cube" the opening cut on Towndrow’s previous album "Out Of Town". Towndrow plays with a rare fire and intensity, attacking every phrase as if his life depends on it. In Cosker he has the perfect foil, an explosive, dynamic and spectacular drummer who is given plenty of scope to express himself by Towndrow’s compositional style.

Charlie Parker’s "Chi Chi" saw Towndrow paying homage to one of his heroes. "Cryogenics", also from "Out Of Town" saw Towndrow switching to soprano and featured an astonishing duet between him and Cosker. Joe Zawinul’s composition "74 Miles Away" was played as a tribute to another of Towndrow’s influences Julian "Cannonball" Adderley who played on the original recording. Cosker was featured in the first of a couple of remarkable solos. Cosker was equally dynamic on the following "Say As I Do" another offering from "Out Of Town".

As enjoyable as the quartet’s performance was, with several noteworthy solos from the newcomer Gibbs, it would have been preferable to have heard the sextet, which adds trumpet and tenor sax to the front line. I’ve seen the quartet a couple of times before so seeing the new line up would have been a real bonus as the album is excellent. Towndrow would probably have liked this too but it was probably impossible logistically. As a result they only played one number from the new album, a cover of Lennon & McCartney’s "Across The Universe". Featuring Towndrow on soprano this is a sophisticated version that stays true to the ethereal atmosphere of the original but at the same time explores the architecture of the tune in a very interesting way.

The final gig of the day was The Barcodes with special guests at Captain’s Walk. The Barcodes trio kicked off the show with Willie Dixon’s "Seventh Son". Essentially a blues band The Barcodes comprise of Bob Haddrell on keyboards and vocals, Alan Glen on guitar, harmonica and vocals and drummer Dino Coccia. Next came "Who’s Lovin’ You Tonight" from the repertoire of Chicago Jimmy Rogers. Written by Charlie McCoy and originally recorded by Area Code 615"Stone Fox Chase", better known as the theme from the "Old Grey Whistle Test" was a feature for Glen’s harmonica. The core trio were then joined by guest artists Alan Barnes on alto sax, Clare Hirst on tenor and Jim Mullen on guitar. This line up proceeded to charge through a couple of blues classics in the form of Mose Allison’s "Everything’s Gonna Be Alright" and Junior Wells’ "Snatch It Back" with Glen on harmonica and vocal. A somewhat incongruous instrumental version of "Norwegian Wood" followed before guest vocalist Jacqui Hicks was introduced. With Hicks in tow the group cantered through "Every Day I Have The Blues" and T Bone Walker’s "Stormy Monday" and followed this with "Route 66" and "Walkin, the Dog". All this was fairly predictable fare but the jazz soloing of Barnes, Hirst-looking far more confident here- and the ever inventive Mullen kept up the level of musical interest. Hicks’ stage presence and gutsy vocals inspired a number of dancers to get up and strut their stuff, after all this was the party slot.This was a good-natured show and the musicians looked as if they were having fun even if they weren’t particularly extending themselves. Everybody would have gone home happy if the curfew had allowed for an encore. A refusal plainly disgruntled some of the punters. Art Themen had quite forcibly stood his ground and insisted on an encore for the Three Tenors earlier in the day so maybe that was a factor. I was glad he did as what we heard in that set was far more interesting than another old blues chestnut would have been.

Taken as a whole though it had been a day of excellent music and just for once in this miserable summer the weather had been marvellous.

Review by Ian Mann

**********************************************************************************************************

I’ve been a fan of Partisans for a number of years now. Their blend of the musical intelligence of jazz with the dynamics of rock hits the spot every time. I could listen to this band all day so their concert at the Guildhall was a must. Julian Siegel (reeds) and guitarist Phil Robson share the writing duties and the line up is completed by bassist Thad Kelly and dynamic drummer Gene Calderazzo, an ex pat New Yorker.

The group have recently celebrated their tenth anniversary and in Calderazzo’s words are like a "band of brothers". They don’t play together as often as they would like due to a combination of the individual member’s other musical commitments-all are in great demand- plus the sheer harshness of jazz economics. Three albums in ten years may seem like a scant return but all are excellent although only "Sourpuss" and the latest release "Max" remain in print. Both are available on the Babel label. The band hit the floor running with the title track from "Max" composed by Julian Siegel and dedicated to the great Max Roach. Siegel blasted away on tenor and Calderazzo delivered a typically volcanic solo. In a subtly different arrangement to the album version Kelly took on a more noticeably prominent role.

A drum and bass duet introduced "Partisans 2", a tune written by American guitarist Wayne Krantz for his one off collaboration with the band at the 2003 Cheltenham Jazz Festival. In my book that was one of the gigs of the decade, never mind the year. The tune subsequently appeared on "Max" and featured Siegel’s rich bass clarinet tones and Robson’s spooky sounding guitar in a creepy middle section. Siegel’s "The Missing Link" featured the composer back on tenor and demonstrated admirably Robson’s mastery at combining jazz chording with rock attack. Robson’s solo guitar began "Traplines", also from "Sourpuss". Siegel featured on slippery soprano with Kelly on wah wah bass. Siegel’s extraordinary deconstruction of David Bowie’s "John, I’m Only Dancing" turns it into a thing of mystery. The arranger featured on tenor and Robson on blues tinged guitar. Kelly, appearing exclusively on bass guitar today closed things out with a rare but thoroughly absorbing solo complete with surprise ending. Siegel continued on tenor for the next tune, which was unannounced. I gave up on trying to identify it and just sat back and enjoyed it. Next up was Siegel’s tune "Wise Child", a dedication to Wayne Shorter from the album "Max". Another great tune- the quality of the writing is so high in this band-punctuated by Calderazzo’s thunderous drum fills. This guy seems to get better every time I see him, negotiating polyrhythms with ease, hammering hell out of the kit when required but these days capable of great subtlety too. A deserved encore came in the form of Robson’s "Last Chance", one of the standout cuts on "Max". A quiet bass clarinet/guitar introduction gave way to an apocalyptic, rock influenced, effects laden solo from Robson before subsiding into a ruminative bass clarinet outro. Great stuff, and these boys make this clever stuff look easy whilst retaining the energy levels of a top rock band. Partisans remain criminally underrated. "Sourpuss" was released in 2000 and featured a loud and raw rock style production. This paved the way for the likes of Acoustic Ladyland, Polar Bear and now Led Bib but Partisans have never received full credit for opening the door through which others have stormed. Some overdue acclaim came their way this year when Siegel won the award for "best instrumentalist" at the BBC Jazz Awards. He is a consummate reedman, so was it for tenor, soprano, bass clarinet or all three? And he plays a mean double bass too. Well done, Wig. Nice one.

Back on the Stroller programme the Double Keyboard Quartet featuring pianists John Donaldson and mark Edwards looked intriguing. Donaldson played grand piano with Edwards on Rhodes piano, synthesiser and samplers. They were joined by bassist Dave Whitford and drummer Asaf Sirkis. Playing a mix of originals and tunes by composers as varied as Egberto Gismonti and Dave Brubeck, Edwards set up a number of interesting textures but the music wasn’t quite as experimental as I was expecting. The usually dynamic Sirkis didn’t really cut loose until the McCoy Tyner penned closing number.In the main this was chilled out fare that seemed just right for the laid back Bishop’s Garden crowd.

The Ludlow gig by Jim Mullen’s Organ Trio was reviewed in detail on this site recently. Their Stroller gig at The Castle saw regular organist Mike Gorman return in place of Ross Stanley. Many of the tunes had already been played at Ludlow with the exception of Dave Brubeck’s "The Duke" which opened the set and the classic Steely Dan tune "Aja" which was a most welcome addition. Needless to say the playing of the peerless Mullen and his highly talented young colleagues was as exemplary as ever and here they were afforded a larger and more enthusiastic audience than at Ludlow. However the real icing on the cake came when a tenor toting Julian Siegel (he of Partisans fame) joined the trio on stage for a joyous romp through Freddie Hubbard’s "Bird Like". Great stuff, and a real bonus.

We vacated the premises as ordered and queued up again to see another rising star of the tenor saxophone. Simon Spillett has commanded a great deal of press attention lately and the word has clearly spread. A particularly large crowd were jammed into The Castle for this one and nobody was disappointed. Spillett is quite simply a superb saxophonist with a particular affinity for the music of the late, great Tubby Hayes. Two classic Hayes tunes "Off The Wagon" and "Lifeline" were included in the set plus the classic ballad "But Beautiful" and a couple of Spillett originals. If "But Beautiful" showed Spillett’s sensitive side many of the items were there to demonstrate his remarkable chops, particularly the frenetic, bustling "G Cross". Spillett was accompanied by an A List rhythm team of John Critchinson at the piano, bassist Andy Cleyndert and the mighty Martin Drew at the drums. All soloed effectively themselves and needless to say gave Spillett unerringly swinging support. The sharp suited Spillett exudes an air of charisma and proved to be an entertaining interlocutor between numbers. This guy is good and he knows it. Such is the buzz about Spillett that two other great tenor players were in the audience checking out the new kid on the block. These were Danny Moss and Art Themen. "He’s got it all" was Themen’s endorsement. Which says it all, I think.

Could anyone top this? Well yes, as it happened for my next gig was a concert by another great tenor saxophonist, the Festival’s Artist In Residence Joe Lovano. For his concert at the Theatr Brycheiniog Lovano was joined by three of the UK’s finest players on their respective instruments-Gareth Williams on piano, Steve Watts, this time on acoustic bass and Martin France at the drums. "Fort Worth", a Lovano original saw the composer commence playing unaccompanied. He is an animated performer, totally immersed in his music as he adopts a crouching position or shuffles about the stage in a series of tiny steps as if led by his horn. For all this he is a master technician and in reality in total control of his instrument. The ideas just flow. Williams delivered the first of many excellent solos as the British contingent rose to the challenge. Williams was prominent again on the abstract ballad "Sanctuary Park" and the following "The Dawn Of Time." The fourth tune, an unannounced ballad featured a brooding solo introduction by the pianist before Lovano’s breathy tenor took over. Watts’ sonorous solo and France’s delicate brushwork added much to the atmosphere of the piece before Lovano’s unaccompanied solo ushered us out. France’s drums heralded in the next item as he entered into a dialogue with Lovano’s horn. Williams coaxed a series of eerie tinklings from the piano’s innards before embarking on a rollicking solo bursting with ideas. Lovano’s saxophone playing became increasingly garrulous and France contributed some sparkling drum fills. Marvellous stuff. The quartet cooled things down for the final number, the beautiful ballad "I’m All For You" which originally appeared on Lovano’s album with the great Hank Jones. The audience weren’t going to let them go that easily though and called them back for an encore, Thelonious Monk’s "Four In One" featuring great solos from Lovano, Watts and Williams. Praise too to France who drummed immaculately throughout the entire set.

For me that was it for another year. As a fan I’ve only missed three of the twenty-four festivals to date and felt that this was one of the best festivals of recent years. It had seemed to me that lately the festival had become a bit hard nosed commercially but this time the old friendly Brecon atmosphere seemed to be back. The stewards were helpful and cheerful, just as they always used to be and did their best to make everyone feel welcome. Changes to the programme were clearly communicated and the organisation couldn’t really be faulted. My only gripe in this regard would be regarding the toilet facilities. Those unisex portaloos were pretty disgusting and I made a point of using the facilities at the Theatr or the Castle. I’m sure the facilities at the outside bandstands used to be better than this and the fact that the public conveniences behind the Market Hall were boarded up didn’t help.

Musically the only complaint would be the number of saxophone led bands. As good as many of these were a little more variety wouldn’t have gone amiss. The mix of different jazz styles has always been one of Brecon’s strengths. Apart from Humph and Steve Waterman trumpeters were very thin on the ground especially on the Stroller programme. This may be symptomatic of jazz as a whole, not just Brecon. Admittedly Guy Barker guested with Pendulum but where were the likes of Tom Arthurs, Bryan Corbett and Gerard Presencer? Just a thought for next year and not one that should detract from what was, overall an excellent festival.

Review by Ian Mann

Blessed for the most part with good weather the 2007 Brecon Jazz Festival proved yet again to be a memorable weekend with plenty of fine music to be enjoyed on both the Concert and Stroller Programmes.

Friday, 10th August:

My weekend commenced with the concert by the Mulgrew Miller Trio in the comfortable environs of the Theatr Brycheiniog. Miller is a consummate jazz pianist and has worked with the Jazz Messengers, Tony Williams, Dianne Reeves and Cassandra Wilson plus many others over the course a thirty-year career. He also leads his own trios, the latest incarnation featuring bassist Ivan Taylor and the outstanding young drummer Rodney Green. The trio commenced with "If I Should Lose You", Taylor's steady bass pulse laying the foundation for Miller's improvisations. Green switched from brushes to sticks as the piece gathered in intensity, the notes tumbling from Miller in a seamless flow of ideas. Taylor also soloed effectively and Green enjoyed a series of drum breaks. A knowledgeable audience gave the trio a thunderous reception although the theatre was by no means full. Miller has been something of a Brecon regular in recent years, which may account for the empty seats. However for first timers like myself this really was a treat. Miller removed his jacket, a wise move in such a warm environment, and got down to work on the bluesy "When I Get There", an original composition owing something to the style of Thelonious Monk. Solos came from the leader and the supple and inventive Taylor. A solo piano introduction ushered in A.C. Jobim's "O Grande Amor". Green's crisply accented drumming was particularly noteworthy on the trio's version of this classic melody. A loping, swinging version of Harold Arlen's "A Sleeping Bee" was particularly enjoyable and featured all three protagonists prominently, Miller and Taylor as soloists and Green in another series of breaks. The Miller original "Carousel" opened with another passage for solo piano. The composer also quoted from the children's song "Oranges and Lemons" and as Taylor and Green kicked in he played in dense clusters with furious left hand rhythms.The old Dizzy Gillespie warhorse "Woody'n'You" was a feature for young drum tyro Green who provided stinging ride cymbal in the body of the tune and demonstrated his command of polyrhythms in a virtuoso solo. Miller had proved to be a genial presence, something of a gentle giant, but the last two numbers, one an elegiac ballad went unannounced. Nevertheless it had been an excellent start to the weekend from a trio clearly on top of their game. Miller is a superb all round pianist and Taylor and Green are both precociously talented. Miller is already an established figure but the two younger men should be a force on the scene for many years to come and Green, in particular has real star quality. Great stuff.

I was unable to gain entry to the Castle Hotel to hear Art Themen's interpretation of the Sonny Rollins songbook on the Stroller programme. The line was just too long so I cut my losses and resolved to hear a snatch of the Dave Stapleton Quintet before my next scheduled concert.

Stapleton's quintet (or DSQ, as it is sometimes modishly billed) released an excellent album last year entitled "When Life Was In Black And White". Recorded on Stapleton's own Red Eye label the CD is reviewed elsewhere on this site. The quintet have just released a new album "The House Always Wins" which I've not yet heard but if it reaches the standards of it's predecessor it should be quite something. Tonight I could only catch the first two numbers of the set but these were typical of Stapleton's rhythmic, densely layered yet highly accessible writing. Ben Waghorn has replaced previous saxophonist Marcin Wright otherwise the personnel remains unchanged- Stapleton on piano and Rhodes, Jonny Bruce on trumpet and flugel with Brecon stalwart Paula Gardiner on bass and Elliot Bennett at the drums. I enjoyed what I heard and was sorry to leave but I've since played "Black and White" again and it sounds great. Check this band out, highly recommended.

The next concert at the Theatr was by an all star band led by pianist Jason Rebello and featuring Gilad Atzmon on saxophones, Aiden O'Donnell on bass and Stephen Keogh at the drums. Rebello burst onto the scene in the late 80's/early 90's and was an influential figure before retiring from the music scene for a while to follow his Buddhist beliefs. His return to performance is a most welcome development for us music enthusiasts and this concert certainly did not disappoint. In a programme mainly comprised of Rebello originals the group began with "Lighten Up The Load", a spirited opener that included solos from the composer's rippling piano and Atzmon's biting alto. The dextrous O'Donnell also featured on the bass.

"The Great Pumpkin Waltz" featured a different tone from Atzmon, warm and breathy and the piece slowly built in intensity through another excellent solo from Rebello. In a hint of theatricality there were even a few puffs of dry ice. O'Donnell again featured as a soloist and Keogh's lightness of touch on the cymbals was also notable. The third (unannounced) track began in piano trio mode with Rebello's percussive style entering into a dialogue with Keogh. The drummer later duelled with Atzmon and also played a few solo breaks. The next item saw the group improvising on a well-known TV theme. Initially tackled in trio mode this proved to be the tune from "Thunderbirds". It worked extremely well and needless to say was hugely popular. A touch of humour at a jazz gig is no bad thing if done in the right way, as this undoubtedly was.F.A.B. Jason. By way of contrast this was followed by a solo piano piece entitled "Wind In The Willows". For all Rebello's syncopations and probing of the harmonies one never lost sight of the simplicity and beauty of the original song like melody. Rebello was then joined by Atzmon's clarinet for a series of variations based on Michel Legrand's "What Are You Doing The Rest Of Your Life?". The moods evoked by the duo ranged from the glacial to the playful and saw Atzmon blowing his horn into the open body of the piano for extra resonance. The next (unannounced) tune was introduced by O'Donnell's unaccompanied bass and saw Atzmon producing eerie and dramatic tones on the clarinet. Rebello had switched to electric piano and his solo introduced elements of funk into an already rich brew. Interesting. Atzmon left the stage while the trio performed a ballad (also unannounced). However the saxophonist has always proved to be a bit of a show stealer in whatever context he plays and tonight was no exception. "Liberating The American People" from Atzmon's album "Musik/Re-arranging The Twentieth Century" proved to be real tour de force. Commencing with a mangled solo saxophone version of "The Stars And Stripes" Atzmon subsequently introduced Middle Eastern and klezmer elements into his playing plus vocal inflections. Rebello switched between grand piano and electric keyboards and the rhythm section offered precise but energetic support. This was to have been the final item but such was the impassioned nature of the performance that the ecstatic audience called the group back for an encore. They lowered the temperature again with an abstract, brooding and chillingly beautiful take on "Somewhere Over The Rainbow".

This had been a hugely successful concert, which after a slightly hesitant start had seen the group hit their stride in a well balanced set. The comments I heard on the way out suggested that everyone had been extremely impressed. It is good to have Rebello back and this was an inspired collaboration with all four members making a superb contribution.

Review by Ian Mann

Brecon Jazz 2007 reviewed

Revellers paid tribute to the late George Melly as the 2007 Brecon Jazz Festival got underway on Friday night.

Cardiff's Adamant Parade Band led a traditional New Orleans style funeral dirge to the tune of Just A Closer Walk With Thee which turned into a joyous parade - surely what George would have wanted.

Jools Holland was the Friday night headliner but with tickets for the concert sold out long ago there was still plenty on offer elsewhere around the town.

Festival regulars the Root Doctors led by the irrepressible Mike Harries could be trusted to deliver a crowd-pleasing gumbo of New Orleans funk, soul, jazz and more.

A hard act to follow, but the Dave Stapleton Quintet did just that. The Cardiff-based pianist delivered a powerful but controlled set of melodic European contemporary jazz which - if they want - has great potential to reach out to a rock audience at Glastonbury or Green Man.

Spacious numbers from the forthcoming album The House Always Wins showed that the band is more than capable of building on the nationwide acclaim they won for their debut When Life Was In Black And White.

Outside the main venues, the prospect of the return of street music on Saturday and Sunday was eagerly anticipated, but the festive atmosphere was already present in the pubs and clubs taking part in the Brecon Fringe.

There, bands like Red Eyed Fly put the emphasis firmly on rockin' rhythm and blues. Indeed, it's hard not to marvel at the wild-eyed antics of frontman Mike Bird and see that the spirit of Melly lives on!

All this and Burlesque Betty's Brecon Review for the even more adventurous visitor...

For the rest of the weekend I mainly took a Stroller's point of view, though the Chris Barber Big Band on Saturday night and Ray Gelato on Sunday night were both, as expected, polished acts of the highest quality.

Ray may have suffered a little competition for audience numbers from a string of swinging bands in the Beacons Stroller venue with The Jive Aces and Ocean's Seven keeping the jivers jumping throughout Sunday evening.

My own band Wonderbrass had a warm reception in our Sunday afternoon gig in the Captain's Walk - whenever we're told we're a pleasure to watch I always reply that it's a pleasure to play.

And it was great to see music back on the streets, especially Slim Lightfoot's upbeat slide guitar blues - just enough to build up the atmosphere without becoming too big an obstacle to negotiate our way between the venues.

Andy Roberts

**********************************************************************************************************
MUSICIANS COMMENTS:

Hi Elaine,

Thanks very much for giving us the opportunity to play at Brecon this year.

It was a great experience and I thoroughly enjoyed the bonhomie of the audiences and the true festival atmosphere.

The toilet emptying episode at Beacons Venue added a new slant to taking an interval!

I greatly appreciate the work you put in to make things run smoothly for us and hope to see you there again sometime in the future.

Best wishes.

John Critchinson

***********************************************************************************

Dear Elaine

A rather belated thank you for booking us for the Castle Hotel at Brecon on Saturday.

We really enjoyed the gig (and I think the audience did also).

Thank you for all your efforts on our behalf.

Kind regards

Andrew Fawcett

Hi Elaine

Our gigs went very well and many thanks for inviting us along.

Friday was a little lightly attended, but Saturday more than made up for that. Both were great fun and I hope you get good reports

The weather was the best I can remember and the was lots of fine music everywhere--I have heard only good reports. And the organisation was better than ever

Again, many thanks--I hope you enjoyed it all as much as we did!

Cheers

Mike

(Root Doctors)

**********************************************************************************************************

HI Elaine...you are my favourite person in the world today...just had to say thanks again for booking me for Brecon, I`m sure I told you I`d always wanted to play there and to finally achieve it is a real buzz for me so THANK YOU a thousand times.

I hoped it was going to be a great gig but I really wasn`t prepared for the standing ovation after our last number, the stage manager said we got the longest applause and best reception of the whole festival, it was (almost) embarrassing.

I`ve had some fantastic emails already today, here`s a few snippits:

for me you were without doubt you were the best act at the festival.

at last...a jazz musician that actually looks like he`s enjoying himself! A brilliant show, great playing, why have we never heard of you before? Please add us to your mailing list.

We saw in the town centre on Saturday and were knocked out but your show on Sunday was just astounding, pleased add me to your mailing list, we still can`t quite believe what we saw and heard, FANTASTIC!

Humour?...at a jazz festival??? Folk music...at a jazz festival??? I don`t think anyone in the audience was prepared for your musical onslaught, in a word...stunning! We were entertained, we were enthralled and we laughed until it hurt, thanks guys, you reminded us why we go to festivals, hope to see you again very soon.

In 30 years of going to festivals of all kinds I have never seen an act truly cross the divide between folk and jazz...until Sunday, I`m still smiling about it, you were fantastic, thanks for a great and memorable show.

Thanks again, Pete XXXXX

www.petesmithguitarist.com
UK Clinician for Taylor Guitars

PS. Another couple of nice things people said...

Found on youtube:

Saw them at the Brecon Jazz Festival this year. The perfect Sunday lunchtime hangover cure! Music for a Found Harmonium was a festival highlight”

Hi Pete

Saw your gig at Brecon Jazz, for me it was one of the highlights of the festival.

You seemed genuinely overwhelmed by the audience response but it was what you both deserved.Thanks again for a inspiring performance, I hope to catch you again sometime.

David Shields

Marcross

South Wales

Hi Elaine,

Just a quick note to say thanks for the gig at Brecon yesterday. It was great fun and seemed to go down well with the crowd (plenty of good comments afterwards).

Hope to see you soon and please consider us for any other festivals in the future.

Many thanks, again. x

Paul

Ocean's Seven

**********************************************************************************************************Dear Elaine,

Re - Brecon Jazz Festival 2007 - There has been great response to this years festival,from both musicians and punters.The Incredible Blues Puppies set on friday ( Beacon Venue ) was packed to capacity - people were dancing and loads of cd's were sold - Saturday's mid-day gig with Myself and Roland Chadwick was also full from the get-go,which surprised me for such an early start, and we went down a storm; and The Barcodes and Friends gig was a huge success - again packed to the rafters with many people dancing and both musicians and audience having a ball ( I've never seen Jim Mullen looking so happy! ) I personally had a great time - catching wonderful sets from Nigel Price,and Clare Hirst at The Castle, and Jacqui Hicks at Beacon Venue.Many people have expressed apreciation for the variety of music found in the stroller programme - mixing Jazz with Blues,Jive and R'n'B - something for everyone.The sound quality and techs at all venues were first rate - and it was a fab moment for me to see Mose Allison sitting on a bench, gazing into the river,before his set on Saturday - long may he continue !

All the Best,

Alan Glen ( The Barcodes / Incredible Blues Puppies )

*********************************************************************************************************

Hi Elaine,

Just a quick note to thank you once again for all the hard work at Brecon and for arranging great sound and the smooth running of the gigs, admin etc. It makes it so much easier for band leaders when it’s like that and removes a lot of the stress.

Both concerts were well attended, I’m happy to say, and we had good feedback. I hope you were pleased with our performances too and that you will consider us again for next year.

Best wishes,

Keith

The Keith Little Band (Wales' Premier Jazz and Swing Band)

**********************************************************************************************************