Picture of Alan Barnes courtesy of: Gerry Walden (http://www.gwpics.com)

Sunday at Titley Jazz, 01/08/2010

I covered the history and background of this brand new festival located in Titley, Herefordshire in our feature covering the hugely successful Saturday of the event.

So without further ado I’ll leap straight into the music commencing with;

CLARK TRACEY QUARTET

With father Stan having returned to London after leading both his quartet and octet in concert the previous day it was left to Clark to uphold the family honour on the Sunday of the festival.

Clark is a powerful, swinging drummer much influenced by the late, great Art Blakey. Most of his groups play in a style influenced by classic 50’s and 60’s hard bop and in recent years Clark has followed Blakey’s Jazz Messengers model by nurturing highly talented young British musicians in his groups. In recent years pianists Zoe Rahman and Kit Downes and the brilliant young vibes player Lewis Wright have graduated from the Tracey ranks.

At Titley Tracey’s quartet included the powerful tenor sax of ex pat Aussie Brandon Allen who can probably still be included in the younger cache of players, plus two long standing associates pianist Steve Melling and bassist Arnie Somogyi. 

The bulk of the material played by the quartet was drawn from Clark’s albums “British Standard Time” (2005) and “Given Time” (2008), records that explored the music of British born jazz composers. On both albums the line up included Allen and Somogyi but with the excellent Gareth Williams on piano. The equally versatile Melling was well up to filling the breach and the Tracey Quartet produced two sets of enjoyable, fiercely swinging music.

They kicked off with pianist George Shearing’s “Lullaby Of Birdland”. Shades wearing, sax toting Allen soon announced himself as a powerful presence and Melling and Somogyi also made telling statements before all three traded phrases with their drummer leader.

Next came Bobby Wellins powerfully swinging blues “CUCB”, a tribute to the late, great, bebop era trumpeter Clifford Brown who was tragically killed in a road accident in 1956 aged just 25. With a strong melodic hook (“easily memorisable” as Tracey put it) the tune provided the framework for outstanding solos from both Allen and Melling.

Ray Noble’s classic “Cherokee” was given an intriguing arrangement featuring a lengthy duet between Allen’s tenor and Tracey’s drums.

Composed by drummer Tony Crombie and saxophonist/critic/raconteur Benny Green the pretty “So Near, So Far” was famously recorded by none other than Miles Davis. The quartet’s engaging take on the piece featured solos from Melling, Allen and Somogyi. 

The ballad feature for the first set was another Ray Noble tune, “The Very Thought Of You” which allowed the members of the quartet to demonstrate the lyrical side of their playing as Melling, Allen and Somogyi soloed in turn.

To close the first half Tracey dedicated Victor Feldman’s “Seven Steps To Heaven” to the recently deceased Martin Drew, who had been scheduled to appear at this very festival. Essentially a solo drum feature Tracey cut the piece short due to time constraints.

Feldman’s composing skills were highlighted more fully at the beginning of the set with the quartet tackling his tune “Joshua”.

Next came “Smile”, written by Charlie Chaplin and still a hugely popular vehicle for jazz improvisers. Melling, Allen and Somogyi all put their individual stamp on the tune, solidly supported by Tracey’s drumming.

Allen left the stand as Melling, Somogyi and Tracey tackled one of Stan Tracey’s tunes. “Baby Blue” goes way back and Melling did a fine job of imitating the idiosyncratic piano style of its composer.

Allen returned for a joyous romp through the old Tubby Hayes flag-waver “Off The Wagon”, the saxophonist leading off the solos which also included contributions from Melling and Somogyi.

Tommy Smith’s “Timespring” kept the momentum going with fiery solos coming from Melling, Allen and Tracey himself. Clark has much the same announcing style as his dad and tersely told the tale of how Smith had once fired him by fax. He still clearly loves the Scotsman’s writing though.

I thoroughly enjoyed this set. It was different to much else of what we’d heard with it’s emphasis on Britishness and there was some excellent, interesting and unusual material covered here. The youthful brio of Brandon Allen was also a big plus and the contributions of the other three were none too shabby either. A great start to day two.

ART THEMEN SEXTET

One of the big successes of the 2006 Appleby Jazz Festival was an appearance by the “Three Tenors”, saxophonists Mornington Lockett, Art Themen and Don Weller in a performance captured on a double CD on the Trio record label. The format proved so popular that I subsequently saw the Three Tenors a year later in Brecon, their performance being one of the highlight’s of that year’s Stroller programme.

The Themen sextet was essentially the Three Tenors in all but name with Themen teaming up again with his old sparring partner Don Weller and with Dave O’Higgins coming in for Lockett. Classy backing came from Dave Newton at the piano, Geoff Gascoyne on bass and Tony Levin on drums, again sitting in for the recently departed Martin Drew.

If today’s show wasn’t quite up to the standards reached at Brecon it was still hugely enjoyable with some great soloing from the three main protagonists and with the three rhythm players also making telling contributions.

Stan Tracey’s “Cuddly” featured great solos from Weller, Themen and O’Higgins plus pianist Dave Newton. However it wasn’t just about solos and saxophone chases as the interplay between the three horns on “Weaver Of Dreams” demonstrated.

The first set’s ballad was Mal Waldron’s “Soul Eyes”, essentially a feature for O’Higgins at his most lyrical and with Newton and Gascoyne also making significant solo statements.

The final item in the first half was most intriguing with each horn simultaneously playing a different tune over the “I Got Rhythm” chord sequence. O’Higgins tackled Tadd Dameron’s “Good Bait” , Themen, Monk’s “Nutty” and Weller his own “Round The Bend”. Somehow it all coalesced in thrilling fashion with each tenorist subsequently soloing in dazzling fashion, the crowd loved it.

More Monk to start the second set but for the life of me I can’t remember what it was. Weller was the main horn soloist here followed by Newton at the piano and the ferociously swinging Levin at the drums.

” I Can’t Get Started” saw Themen switch to soprano, a nice change, with other solos coming from Gascoyne, and by way of Levin’s drum bridge O’Higgins and Weller on tenors. 

“Easy Living” and “Spring Can Really Hang You Up the Most” were treated as a segue and formed ballad features for Weller on tenor and Newton at the piano respectively.

Horace Silver’s hard bop/Latin classic “Sister Sadie” made for a storming closer with solos from Themen, O’Higgins and Weller at his most whimsical. Not to be outdone Newton and Levin enjoyed flamboyant solos of their own. Predictably the crowd, many of them former Appleby regulars gave the sextet a rapturous reception. 

CLARINET MARMALADE

In a festival rather top heavy with tenor saxophones Alan Barnes’ delightful confection involving the music of two clarinets came as welcome and tasty palette cleanser. Clarinet Marmalade is a drummer less quartet featuring two clarinets accompanied by just double bass and drums.

Barnes regular clarinet partner Tony Coe was unable to attend due to poor health (we wish him well) but his shoes were brilliantly filled by Julian Marc Stringle, another long time Barnes associate.

Barnes and Stringle were equally brilliant whether playing as soloists or linking up to play in duet. Sympathetically backed by Dave Newton on piano and Andy Cleyndert on bass they delighted the audience with their virtuoso playing and Barnes’ impish announcing style. There was plenty of musical humour too such as the twin clarinet quote from heavy metal anthem “Smoke On The Water” at the beginning of A.C. Jobim’s “Triste”.

Elsewhere the foursome played “Just Friends” and a delightfully bluesy version of Duke Ellington’s “Creole Love Call” that explored the jazz clarinet’s New Orleans roots. Newton and Cleyndert weren’t overlooked with both contributing to the soloing process. 

Barnes left the stand for Stringle to take centre stage for “Poor Butterfly” one of several tunes associated with Benny Goodman and with features for each member of the temporary trio.

“Airmail Special”, another Goodman tune ended the first half in exuberant fashion, stuffed full with quotes as Barnes and Stringle gleefully exchanged phrases with one another. “Sweet Georgia Brown” , “Tiger Rag” and “I Got Rhythm” were all in there somewhere in this dazzling display of musical humour and joie de vivre. The audience loved it.

The second set commenced with yet another Goodman tune, “Seven Come Eleven” which Barnes suggested had actually been written by the great guitarist Charlie Christian.

The two clarinettists cleared the stage for “Old Folks”, a delightful duet between bassist Cleyndert and pianist Newton. Although Cleyndert had featured as a soloist dozens of times over the course of the weekend this really brought the best out of him, as he picked out the melody line sympathetically supported by Newton. The pianist subsequently took over the reins but this was Cleyndert’s moment, his best of the festival.

In a nicely democratic arrangement Stringle sat out for Barnes’ trio feature “I Hadn’t Anyone Till You”. This was bookended by the playful “When You’re Smiling” and the closing “As Long As I Live” with each tune featuring all four members of the group.

Clarinet Marmalade had been a breath of fresh air and the temporary absence of tenor and drums came as a bit of a relief. The quartet’s exuberant, playful version of chamber jazz had worked surprisingly well.

ALAN BARNES OCTET

Barnes brought out the artillery for his octet performance. The leader largely confined himself to baritone sax, representing a total contrast to the airy clarinet. Joining him in an all star group were Art Themen and Simon Allen on tenor saxes,  Guy Barker on trumpet and Mark Nightingale on trombone. Dave Newton on piano and Andy Cleyndert on bass took to the stage for the second time that evening in the company of Steve Brown at the drums.

“Stomp, Look & Listen” was introduced by Newton at the piano and got things off to the rousing start suggested by the title. Every member of the octet bar drummer Brown was featured as a soloist.

The old sixties pop hit “Girl Talk” featured sweet horn voicings and solos from Barker, Themen, Nightingale and Cleyndert. Any saccharine tendencies were quickly counterbalanced by a rumbustious version of Charles Mingus’ “Fables Of Faubus” with Barnes’ rasping baritone providing the tune’s hook and with solos coming from Themen, Nightingale, Barnes himself and Barker on stunning high register trumpet.

Barnes’ original “One For Dick Morrissey” was initially commissioned by Wakefield Jazz to commemorate the late and much missed British tenor saxophonist. Morrissey’s spirit was invoked by the duelling tenors of Allen and Themen with further solos coming from Barnes on alto and Newton at the piano.

To close the first half the octet played Jimmy Forrest’s “Night Train”, a tune that later became indelibly linked with the great pianist Oscar Peterson. Barnes, in a rare moment of seriousness dedicated the piece to the recently deceased Martin Drew, drummer with the Peterson trio for the best part of thirty years. The octet certainly tore into the tune with solos coming from all five players (Barnes was back on alto) plus Cleyndert. Stirring stuff.

The octet restarted with “Surrey With The Fringe On Top” with Barnes back on baritone and with a feature for drummer Steve Brown.

The rest of the set comprised of Barnes originals beginning with “The Game Is Afoot” from his 2003 double CD release “The Sherlock Holmes Suite”. The composer featured himself on alto alongside the tenor of Art Themen.

“A Derby Dales Diary” proved to be an after hours blues with smouldering solos from Barker on muted trumpet, Allen on tenor and Nightingale on trombone.

To close came that “That Ealing Feeling”, a tribute to Ealing Jazz Festival I suspect. It made for a rousing finale to Titley Jazz Festival with solos from Allen and Barker and with Barnes, Themen and Nightingale joyously trading licks with drummer Brown. They still weren’t finished and subsequent solos came from Newton and Brown himself.

Between tunes we’d also heard from a veteran Appleby supporter and Titley Jazz organiser David Masters was called to the stage to justly receive the acclaim that was his due for bringing the much missed Appleby atmosphere to Herefordshire.

Although numbers were slightly down on the Saturday there could be no doubt that the festival had been a roaring success and David Masters promised from the stage that there will be a bigger and better event next year, probably featuring music on the Friday night as well. I saw more local people at the festival on the Sunday which was an encouraging sign and hopefully Titley Jazz is here to stay.

OVERVIEW

Most importantly Titley broke even financially ensuring that another festival will take place next year. David Masters can be proud of his triumph in creating a successful jazz festival. The location was glorious and the atmosphere relaxed, friendly, attentive and enthusiastic throughout.

Quibbles were pretty minor apart from the bar running out of cask beer rather too early on the Sunday! Otherwise it was mundane stuff like inadequate toilet facilities, but a patient crowd was happy to queue and it didn’t really become an issue. A urinal trough for the blokes next year should pretty much solve everything there.

As for the music it was all good but I did feel there was a lack of variety with an overly strong balance towards the tenor saxophone. Virtually every band played in the head/solos/head format and by the time I’d applauded the umpteenth bass or drum solo of the day even an inveterate jazz enthusiast like myself was getting jaded. With Guy Barker present at the festival it might have been a good idea to have had him lead a band with the balance shifting from saxophone to trumpet. Anything to inject a little variety. I seem to recall that Appleby sometimes had things that were a bit more contemporary and cutting edge-a thought for next year perhaps.

Having said that I don’t blame David for opting for the tried and tested first time out. The enthusiastic response from the audience certainly validated his choices and for most of the crowd I’m sure this was exactly what they wanted to see. 

A word for the three pianists playing at the festival. All were excellent, Stan is a legend and Newton and Melling both seem to have an encyclopaedic knowledge of jazz styles and can fit brilliantly into any given situation. Peter King, who played on the Saturday was the outstanding soloist of the weekend and I rather enjoyed Brandon Allen’s forceful contribution too. The clarinet duo was superb and, as I’ve already intimated, I’d have liked to have seen more of Guy Barker.

Minor misgivings aside Titley Jazz is up and running. Long may it continue to do so.

 

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