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MILES DAVIS MILES DAVIS GEORGE DUKE VICTOR FELDMAN, 01-723 9090 01-402 6745 - PADDINGTON GREEN - LONDON W2 1NA COMPACT DISCS Every home should have one DICK MORRISSEY After Dark Breezin ALPHONSE MOUZON By All Means Give Me The Night MORRISEY MULLEN It’s About Time ‘August Moon MORRISEY MULLEN Life On The Wire Jive jive MORRISEY MULLEN Badness Photographs JIM MULLEN Thumbs Up All The Great Love Songs JEFFREY OSBORNE Stay With Me Tonight Nightline TEDDY PENDERGRASS —_Love Language Newnight PRINCE Controversy Summer Afternoon LIONEL RICHIE Lionel Richie Street Life LIONEL RICHIE Can't Slow Down Kind Of Blue LEE RITENOUR Rio Decoy DAVID ROACH Running With The River ‘The Man With The Horn DIANA ROSS Why Do Fools Fall In Love Guardian OF The Light SADE Diamond Life Secret Of The Andes JOE SAMPLE The Hunter RICHARD DIMPLES FIELDS Mmm DAVID SAMBORN Voyeur THE FOUR TOPS DAVE GRUISIN HERBIE HANCOCK HERBIE HANCOCK BILLIE HOLIDAY JIM HUBBARD FREDDIE HUBBARD JAMES INGRAM MICHAEL JACKSON MICHAEL JACKSON 19 Greatest Hits SANTANA Abraxas Mountain Dance TOM SCOTT Target Feets Don’t Fail Me Now SHAKATAK Down On The Street Future Shock SHAKATAK Drivin’ Hard Silver Collection SHALAMAR Friends Hubbards Collection JIMMY SMITH. The Cat Born To Be Blue JIMMY SMITH Off The Top. It's Your Night SPYROGYRA Morning Dance Theiler STEPS AHEAD Steps Ahead Off The Wall DONNA SUMMER Donna Summer BOB JAMES & EARL KLUGH One On One CAL TJADER, Sona Libre RICK JAMES ALJARREAU, ALJARREAU, QUINCY JONES QUINCY JONES KENT JORDAN EARL KLUGH HUBERT LAWS LEVEL 42 RAMSEY LEWIS. MADONNA THE MANHATTAN, TRANSFER. TANIA MARIA TANIA MARIA, TANIA MARIA, WYNTON MARSALIS NAOYA MATSUOKA, NAOYA MATSUOKA, NAOYA MATSUOKA, Reflections TINA TURNER Private Dancer Breakin’ Away DAVE VALENTIN Kalahari Jarreau GROVER WASHINGTON JR Come Morning The Best GROVER WASHINGTON JR Winelight The Dude SADAO WATANABE Rendezvous No Question About It SADAO WATANABE Super Best Low Ride SADAO WATANABE Fill Up The Night Romeo & Juliet WEATHER REPORT Heavy Weather True Colours WEATHER REPORT Mysterious Traveller Tequilla Mockingbird EARL KLUGH Wishful Thinking Like A Virgin FREDDIE HUBBARD. Ride Like The Wind JOHN KLEMMER Finesse Bodies And Soul AZYMUTH Telecommunications Taurus AZYMUTH Rapid Transit Love Explosion MEZZOFORTE Observations ‘Come With Me CHAKA KHAN, I Feel For You Wynton Marsalis BOB JAMES ‘Touchdown’ Fiesta Fiesta CHUCK MANGIONE Disguise A Farewell To The Seashore PIECES OF A DREAM Same September Wind STANLEY TURRENTINE Pieces Of A Dream LAUREL MASSE Alone Together DAILY DELIVERIES FROM THE USA, JAPAN AND EUROPE CATALOGUE AVAILABLE OF ALL OUR COMPACT DISCS FIRST CLASS MAIL ORDER SERVICE ACCESS AND BARCLAYCARD ORDERS BY TELEPHONE 01-723 90901402 6745 — 10.30-6.30 MON-SAT/10.30-7.00 FRIDAYJAK KILBY us Pukwana NEWSWIRED 2 ON THE WIRE: 5 HOOK THEM WITH A RECORD, THEN LOCK THE DOORS 6 STEVE LAKE THE WIRE'S ‘NEW YEAR'S HONOURS LIST 7 LIVE WIRE: 8 AL JARREAUIDAVID SANBORN MARK WEBSTER THEWIRE EVAN PARKER/TALISKERIMAGGIE NICOLS GRAHAM LOCK alee reins BENNY CARTER PETER VACHER Pern aoe ad DEREK BAILEY-BARRY GUY/EVAN PARKER) RICHARD COOK Larcher PHIL WACHSMANN. Pe BUDDY TATE-AL GREY BRIAN PRIESTLEY Reise nite aurea 1 erga ‘28th LONDON FILM FESTIVAL © ANTHONY WOOD, ier Ca ADELE JONES pee Rem NEW YORK EAR & EYE 12 PETER PULLMAN Err PHIL MINTON-ROGER TURNER 15 KENNETH ANSEL Paarl LAURIE ANDERSON 20 BRIAN MORTON perry GONE... BUT NOT FORGOTTEN: 23 bcoveed ad COLLIN WALCOTT BRIAN MORTON Bra VIC DICKENSON PETER VACHER cod DENNIS ROSE BRIAN PRIESTLEY era ‘AFRO JAZZ: 24 Namara Features Limited THE LEGACY; HARRY MILLER; DUDU PUKWANA; CHARLES DE LEDESMA MONGEZI FEZA; LOUIS MOHOLO; RONNIE BEER; JOHNNY DYANI; CHRIS McGREGOR; JULIAN BAHULA; WHY HERE?; SELECTED DISCOGRAPHY CHRIS McGREGOR 40 GRAHAM LOCK GREAT RECORDINGS: 45 MAX ROACH'S “WE INSIST! FREEDOM NOW SUITE” GRAHAM LOCK SOUNDCHECK 46 INCLUDING GEORGE ADAMS-DON PULLEN, AMALGAM, CLIFFORD BROWN, COHERENTS, BILL EVANS, THOMAS MAPFUMO, PAT METHENY ETC RECENT RELEASES 55 ound Ce PRINTING Perri ya ea tet ner fsccrcnarceneat o a RR eS aoe Ts “The views expressed in The Wie are those ofthe Peete ery Romero ene er nee eae kd Pe eh eee ae ort Perce kd pr ite Ms COVERCREDITMJUUAN BAHULA. Photo: ak KibyNEWSWIRED “Archie Shepp — he's on his way NETWORK GOES DUTCH Ing and lass backgrounds and Tom Browne — exploding in Hammersmith WELLINS LUNCHES IN BOGNOR BOBBY WELLS" Jazz Clb is doing good busines lynder fo) 3nd FUSION IN HAMMERSMITH [A PACKAGE of fusion stars — including Roy Ayers, ‘fom Browne and Lonnie Liston Smith ~ lands In London this month for wo dates atthe Hammers: mith Odeon " saturday, 23, and Sunday, 24 Tony. promoted. by. BKO. Productions and Asgard, “The New York Jazz Explosion” wil also inelude sean cars fst visit here. “Tickets from the box ofice (01-748 4081), PARKER TRIBUTES THE THIRTIETH anniversary of Charlie Parker's death is being commemorated by some special ‘On 14 February at London's University College, Hampstead, brosdeaster nd musican Bran Priest ley" presents his tribute with a sextet including Dave Green, Mark Taylor, Don Rendell Ola Vas tnd Digby Foirweather. Tickets are £250 Gin a {nce}, £3 (on the door). Manchester's Band On The Wallis alo staging 2 ‘wibute on 12,13 and 14 March, So far set ae Peter King (12] and Bobby Watson (i). ‘Our March issue wil Indude a major feature on chai Parker 7 SHEPP — ONE FOR LONDON SAXOPHONIST Archie Shepp returns to Britain this month to play one date in London on 28 February at the Forum in Kentish Town, promoted by Tsafrika. Shepp will lead his current quartet, supported by Julian Bahula’s twelve- piece band including dancers. The con- cert will be recorded by Tsafrika who will also studio-record Shepp for future release on their label Shepp, who came to prominence in the Sixties as part of New York's avant- garde scene, was closely allied to the Black Power movement, speaking out fon the position of black musicians in America, Shepp returns to Britain in April for a tour. . BOBBY WATSON FLIES IN EXART BLAKEY altoit Bobby Watson arrives in Britain next month fora national Jaze Services tour. Watson wil play with an allrtish band ~ Guy Barker (pt, Nick Weldon (p), Andy Cleyndert(b) ‘and Mark Taylor (). "The tour, starting 16 March at Manchester's Band Bradford Jazz Festivals ‘Watson's new album Beatitudes wil be released bby Hep Records to colndde with the tour's remain ing dates next month * Bobby Watson — nationwide tour‘Jazz in Notingha bere Thompaon NOTTINGHAM JAZZ MOVES ATER being forced 0 mow os Wine Bar ater JAZZ CENTRE — NEW OPENING DATE FURTHER to our optimistic lead. news item last ‘month, the opening of the National Jazz Centre in London's Covent Garden has been postponed until B May, ‘This last-minute shift of date results from unfore- seen technical hitches inthe final conversion ofthe historic Floral Set site, previously an old ware: house By, way of consolation, a major “British Jazz Gala” ~ promising @ wide spectrum of music wil {99 ahead atthe London Palladium on 40 February. Artists unconfirmed as we go to press ~ wateh for ‘etals nearer the date, . ZIGGY'S BEAT » Sunday ight jam downs sents ram te Guldhal 12 proveion ul Rogers & 7 RPM for RM Elaine Delmar — swinging in Cheltenham RIM CHANGES pany by maidens Ce eet fd Cay moved fom Braton's Ou Whee He West Norwood!'s Neto Hal, CHELTENHAM SWINGS nham Jaz has been well feed, presenting ning up ths month a the Queens Hotels Bane Surman Quintet wil be the atvactan. ets ro the Town Hal bor ofc, are €2.50 in RECORD NEWS INCUS Records, run by Derek Bailey and Evan Parker, celebrates its first anniversary this year and 's planning a festival between 22 and 28 April "More detals next month, ‘Sonet Records have two new blues albums out Chicago guitarist Son Seals and his band are featured on fad Axe (SNTF 827) while legendary harmonica-player and singer lames Cotton brings Us High Compresion (SNTF 328). ‘Chick Corea is nthe studio working on a new album for ECM. The session features stings, horns And the music of Mozart “America's New Music Distribution Service, which grew out ofthe Jazz Composers Guild and i one of the largest distibutors of independent label has been’ awarded. a. $10,000 grant by the Robert Sterling Catk Foundation, 7INSTRUMENTS AND ACCESSORIES SUPPLIED TO THE COUNTRY’S LEADING PROFESSIONALS @ BEST DISCOUNTS @ LARGE STOCKS @ Unique Rental Scheme Write or phone for price lists. 55 Nightingale Road, Hitchin, Herts. SG5 1RE 0462-36I5I Introducing )*: WATIONAL SOUND AR ‘NATION and e sounds of jazz. past a vo the ep, CD and tape fm Listentoth Pea corded jaz of rec r y atalogues. pany catalog} com| Research the hist im Researe through disco} biographies ane A als i periodica toother musics: blues peas ead ional music, We stern i Eoenseeee ee ECRCAco BREE OF Optra Thur-210 Mon r mation from Chis CR: Fucthet th Libr ational Sou chi Further ribrary National Sous Road, Lond So Exhibition Road, L 1 389 66013 ucingJAZZ ave ARCHIVE. 103 LONDON ROAD, SAWBRIDGEWORTH. HERTS CMZ1 9.) NEW YEAR JAZZ SALE ‘One Week Only Saturday, 2nd, to Saturday, 9th February inclusive 15% OFF ALL FULLPRICE RECORDS (US, Japanese, European, Australian & Local Issues; and Books, too. PLUS our usual Special Offers on records! Personal Callers — cash & cheque sales only DOBELL'S JAZZ & FOLK RECORD SHOP 24 Tower Street, London WC2H 8NS Just behind St Martin's Theatre (The Mousetrap) 01-2401354 Open 10am-7pm Ray's Jazz Shop WE WILL BUY OR PART-EXCHANGE YOUR UNWANTED JAZZ RECORDS + LP's * EP's « 78's * BOOKS & MAGS COLLECTIONS BOUGHT — CAN CALLIN LONDON AREA Jenin of We have a Large 4 New LP's including Now Ret mports Special Offers Cassettes 80 Shettesbuy Avenue 4 Rat TBs and EP's London ‘ Jau Videos e. for Ist Tet 1240 3969 + Mal Orde Barclaycard taken JOPEN MON-SAT 10530 + Books and Magavines ~ Wide Range incutingOo N TecH:.-E HOOK THEM WITH A RECORD, THEN LOCK THE DOORS WHENEVER | run across musicians from the jazz area once known as the avant-garde, stories are exchanged of how the improvising scene is shrinking. The West German touring Roger Turner Pri Minton2 Minton still st Precedents were s} vocalising with early Soft Machine and his solo End Of An Ear and latterly Bobby McFerrin, have all to varying degrees concerned themselves with echoing or reproducing in strumental textures (the “voice-as-instrument” approach) while Minton himself cites the recent example of David Moss as someone with whom he feels some affinity. There have been nds unique in his deployment of the voice arse; the doo-wop groups, Robert Wyatt's ser parallels in the extended vocal work of some female performers: Tamia, Diamanda Galas, Cathy Berberian, Maggie Nicols and some of Julie Tippetts’ activity for instance. Perhaps the closest comparison is that of Trevor Wishart, though I'm still very conscious of being one of the very few men i the world who are working in this way and I still feel a little bit awkward about it, If anyone ever asks me what I do, then I say Vm a trumpet-player The root of the from the juo’s ability to communicate may stem wre of the instruments they deploy Percussion has traditionally been used in numerous societies to trigger deep, subconscious level, while Minton’s use of voice sidesteps language as a codified means of ¢ pression which registers on a conscious level to articulate perhaps directly with the subconscious, This should not, however, he construed as some m interaction of Minton and Turner's chosen resources; itis the ‘musicians’ artistry and the slow painstakin their individual skills which has evolved their music-making to development of the level where it has this propensity for communication. It is a skill they seem s to continue to develop together Turner: “We've not talked about it but | would guess that Phil and I would continue to make music together for a very Tong time, on and Minton: “I think so, yes. Turner: “.. there is scope for change, there is that room to continually throw up new stuff. . PHIL MINTON/ROGER TURNER Ammo (Leo Records LR 116) Recorded: Cold Storage, Brixton — 18 January & 2 February, 1984 Phil Minton (singing); Roger Turner (percussion). On vinyl, Minton and Turner both gain and lose in comparison with thet formances; and the nquite dstinct ways ‘On th igre of Turner's percussion — particular in evidence o 1d Told” and during the wide emotional sweep the ttle track — i fll revealed ina way that t never tends to be in concert Similaly, Minto i control of texture and innuendo Minton has at his command i fl evident ‘On the other hand the warm, personal tone of thei gis is diminished (although cose mic-ing does retain acertan quay of mtimacy), With eigh track «equally over the two sides, Ammo also has an epi feel, whereas thet concerts tend to consist of ust a couple of pieces duting However the device ofa seres of short ta suggest the breadth of y and invention at the duo's disposal. This anges trom the im, the stat motion uncoling sounds which dominate "Cold .queakings on "Rubbed And To tenses "Urgen se the use the duo make of th h ne methodology of Minton/Turmer: but pacity for communication, try to catch them bw Kenneth Ansell20 IF YOU CAN’T TALK ABOUT IT, POINT TO IT The “novelty” impact of the LAURIE ANDERSON “O Superman” was briefly in danger of overshadowing (undermining, even) the scale and depth of her lengthy complete work United States. With the recent release of this formidable composi weighty, boxed-album set, Brian Morton considers the wider field of Anderson's multi-faceted works, concepts and performances. LAURIE ANDERSON gave the British premigre of her personal epic United States in February 1983 as part of the Institute of Contemporary Arts’ “ICA:NY” festival of New York art and music. It was an unforgettable and uncategorisable experi ence, a mixture of music ~ synthesized and acoustic — song, speech, back-projected texts and images, all cen- tring on the slightly frail, unemphatic figure of Anderson, herself. The impact of United States and the chart success of “O Superman” ~ a “surprise hit” ~ lifted her beyond an avant garde, coterie reputation and there were some who ungener ously felt that she had taken a drastic step down-market. Yet Anderson's concerns remain insistently of a piece and "O Superman” is i y separable from the graphic, musical and performance work she had been doing throughout the Seventies, work that steadily prepared for the development of United States The very scale of the ambition behind the work - an ambition signalled in the title and in the scope of the pi tolV occupy twelve hours ~ allows us to suggest a link with two earlier American epics: John Dos Passos's three-decker novel of the Thirties, LISA, a title strikingly close to Anderson's, and Walt Whitman’s massive poem L which went through umpteen editions, revisions and additions between 1855 and Whitman’s death Whitman set out to capture imaginatively the young Amer ican nation, He sought to create a uniquely democratic literature that would be true to the experience of a new nation and free from the rigi past literature. Much of Leaves of Grass is simple naming, long lists of places and people. Later in his life Whitman was to declare that his poem was “only a language experiment”, which suggests a more abstract inten- tion; the younger Whitman presented himself as an Adamic sometimes Christ-like figure, creating a new language for a new experience, redeeming it by the same act. In doing so, he followed the philosophy of American thinkers like Ralph Waldo Emerson, who took an “organic” view of language and held the belief that all words are signs of natural facts, Whitman declared: “A perfect user of words uses things”, “A perfect writer would make words sing, dance, kiss... ot do anything that men or women or the natural powers can do”, (Wittgenstein’s very similar idea that ideas are pictures of facts is one that figures prominently in Anderson's work.) For Whitman, to begin with at least, word: things, natural forces. res of Gras ‘are highly concrete jonas a Almost a half-century after Whitman's “death-bed edition’ of his poem, Dos Passos completed his trilogy, USA is a complex, multi-faceted account of modern America, combining, fact and fiction, different kinds of narrative, into a unity that is, usually blurbed as “kaleidoscopic”. But again, Dos Passos's real subject ~ hidden till the climax ~ is language itself. Incensed by the execution of two Italian activists, Sacco and Vanzetti, Dos Passos turns on his country and its tongue with a vision that represents a dramatic darkening of Whitman's: wh ade them America our nation has been beaten by rs taken the tured our language thers and e old words of th blood and a tonight ing renewed i men in house made th w before de, ey died ords “Make it new": a literary commandment that becomes a political promise. The melting pot was a matter of language. America” was a new way of talking Meredith Monk's film Ellis Island (Meredith Monk: Wire 9), a work that has much in common with Laurie Anderson's, covers similar ground. The immigrants are coached in the new tongue as they arrive at the island, gateway to America, Slavic names progressively simplified and bastardised to suit the American tongue and lips and palate. The Statue of Liberty a French monument after all, becomes a rather ambivalent symbol, Ellis Is phy at the beginning to the antithesis ~ frozen figures, weighed and measured Monk's imaginative use of camera. Significantly, Laurie Ander: son originally called her epic “Americans on the Move", Its obsessions are movement, the transformations and corruptions ‘of natural language and, as Stuart Morgan has described, the dea of “home”, a word that recurs endlessly in Anderson's work. Her graphic work has always stressed the displacements of language and locality. In a series (1971-1976) she plaited together front pages of newspapers, New York Times/China mes, to create what she has called a “field situation”, no something that can be read in the normal sense shimmer of potential meaning, If Whitman was Adam (and Dos Passos saw himself as Cain} then Anderson is Eve or, better, Lilith, intent on the gaps between words and the gaps between words and things. Where they see their is about movement, from the tim lapse photog and theirMeredith Monk reinv Anderson relies almost entirely on ints the process of language, its making found ling quotes tags, clichés, slogans, all put to startling new use. Her subject has become the distance between our language and the istic objects world and range of capabilities itis supposed to represent. The mos! 1e “homeliest” phrases take fon a sinister import in Anderson's songs ‘Don't forge ironical it's cold outside your mittens”, “Every man for himself” Hallelujah” and "Yodellayhechoo' Science”; a German recitative in “Example No 22” and then this: “Your sound. I understand the languages. 1 don’t understand the languages. | hear only your sound”. The hit single from the Big Science album, “O Superman’, centres on ai Ansafone spool af “nob: and “call your mother ‘messages, potent images of alienation, It is Anderson’s atmos pheric musical settings that add the chill to such simple and clichéd phrases as “Don't forget your mittens", delivered in a cool monotone. There is a very similar displacement, equally alienated, in her 1977 graphic “Is Anybody Home looks out at a ship on the Hudson river and ponders on the difficulties of telling just what is moving, ship, rive sky; a down-home lesson in relativity As Stuart Morgan has pointed out, borrowing from opera historian Peter Conrad, Anderson does not “liquefy” her words to fit the music. She speaks her lines very distinctly, though y's home a almost without inflection; there is nothing, her music. It would be tempting to describe her stage presence as undemonstrative were pointing and gesturing, self conducting, not one of her main techniques; again, borrowing from Wittgenstein a phrase that appears back-projected in United States: "If you can’t talk about it, point to long way from Whitman. Her view of depending on your point of view — eithe Anderson has come language represents a reversal of the earlier poet's or an exaggeration of one feature of it, She follows the line and quotes the wards of novelist and cut-up artist William Burroughs (a performer on her most k) who said “Language isa virus recent album Mister Heart from outer space”. Language is no longer Whitman’s natural force but something alien, alienated and alienating, ich a view was already buried in Whitman who, recognis ing that words could never be of the same substance as things, began to define language as “indirection”. “The words of my book nothing, the drift of it everything”. Anderson echoes this, and its sense o In all my work I've ever done, my whole intention was not to map out meanings but to make a interested in facts, images and theories which resonate against each other, not in offering solutions’ The resonance of words and ideas, apparently disparate brought together in chythmic settings, constitutes Anderson's lumpy and solid, words can be movement: field situation. I'm ‘unliquefied While these same words do not offer solutions, they do actually constitute a kind of solution to the anomie of modern ‘American life, Anderson sees indirection of Whitman's sort as a kind of psychoanalysis (hence the stress on families and childhood) and she gets close to Whitman's identification of language with natural processes, That unforgettable “ah ah ah ah ah” rhythm that runs through “O Superman” came, she tells, tus, from a visit to a Rudolf Steiner school in Switzerland where children were being taught to utter the vowels by associating them with specific emotions. That in this case the emotion was fear is part of Anderson's message. Her music, as well as exemplifying modern America, acts as a counter-magic to it, a way of purging it by bringing to light the corruption of language; classic psychoanalysis, that has driven the wedge between our ig science” means The Bomb: "Here d props irrelevant, Mom, Dad, home, Superman. It destroys the language. “Well l walked uptown and I saw a sign that said: Today's Lecture ~ Big Science and Little Men. $0 I walked in and there were all these salesmen and a big And they were all singing: Phase lock loop. Neurological bonding, Video disc. They were singing: we're gonna link you up. They were sayin we're gonna phase you in”. Singing? and doesn’t that promise of “communication” come on like a threat? Anderson has created ~ is still creating — a work that probes to the very marrow of a crucial American dilemma. The tis “big science words and our worlds come the planes”. It all makes the guardians of the language an integralist country like France men have inhuman tongue. Sa and Vanzetti, as Dos Passos knew, were fried because they could not speak clearly enough in their own defence (yet their self-epitaph is still one of the best pieces of American prose NASA-speak, cable, DBS, CB, FM: instant non-communication Anderson’s a far more fluid commodity than in hold the power. The little become the servants of a steningto speech “4 Laurie Anderson: two albums, Big Science (Warner Bros K 57002) and Mister Heartbreak (Warner Bros 925.077 1) are required — and compulsive ~ listening. For background, if a little impressionistic, Stuart Morgan’s articles in Artscribe, December 1981, and in the special number of The Literary Review published to coincide with ICA:NY” in 1983, are excellent Just out: Laurie Anderson's five-box set United States Live (Warner Bros 925 1921) ~ recorded at the Brooklyn Academy of Music, 7-10 February, 1983 (book published by Harper & Row, 1983)“INNOVATIVE INSTRUMENTAL MUSIC THAT WOULD IMPRESS ANY AUDIOPHILE.” “WHATEVER IT IS, MORE AND MORE PEOPLE ARE PICKING UP ON IT.” In 1976, 60 people paid $5 each to order]a record thot hadnt even been recorded yt: Wiliam Ackerman's atbum debut..ule’s Naw! , i hia iil il WINDHAM HILL RECORDS (On February 4th, Windham Hil debuts in the UK. with sxclasicabums, reeasedexciusiey on COMPACTDISC “AVEVENNG WITH WINDHAM ULUME” WARDS COW 1028 ‘The suoces of Windham lone rosmalpariofeon-gongsees Of he concer eotang vores moma o erste Ths bum wos footed on one of these Spon eenngs andspatighisho ss thon Geren muscans “sou0 COLORS” iZsTORY cowios The stunning debut abu tom ‘momen 25yearaxcompose od Dns! wne woe & oe 9 fen ‘ued peces tha ath bang com posed by ond of het proc ‘veces Bans By 1982, the company founded on that debut was enjoy a unique success story, Medio praise inthe States was wualy unonous: ‘nd the North American pubic were reacting penomenoaly toa label whose musical exc Tence wos complimented by the ver highest standards of graphics, pressings and packaging DECEMBER” G£0%GE WINSTON com Wastonisepons of ustordng duly ond porgnancy, or nay nspredty gators ine ohn Fahey Ths cb etisesoignal ‘presser p son tog wi “WPOR DRAWINGS” RH CDH 102 The fst solo abu rom the com poserimulh = nstumentlt roekondclasicalsves PASSAGE" Wl ACKERMAN cow iara ou pecs lol gut rom he labs founder, ogee win fox duets eating Cel English Ho, ano ond Voln "SHADOWOANCE” ‘SADOWTAX COW 1029 -r incite and arin ori tau pace group who ute bon complex eacTonc stuns (nd rodtona anne tok stu ments cnn album tt © © ‘one hy of Msi Hes “AN ANTIDOTE TO URBAN MADNESS.’ MAR¥ETED& ISTREUTED BY ABMIRECOROSUIDGONE .. Fx . BUT NOT FORGOTTEN DENNIS ROSE DENNIS ROSE, legendary British bebopper, died on 22 Pearce etre a ee eaten playing career which, from the Fifties onwards, was marked by a reclusive tendency that confined him to solo piano gigs er a eae one article was devoted solely to him (by Digby Fairweather ea eee TET Bruce Turner's new book calls him “a creative musician but ‘the sort of man who could never make up his mind which instrument to focus on”. He also played trumpet and drums Pao em cura ts ees strumental skill, whereas he was an instinctive teacher of Ce ee a eee Johnny Claes band, said (in the book Jazz At Ronnie Scott's): SO ne Ree ce RC Rte ee eC ee ‘them out, | didn’t. And then he'd show me.” SUC ee een ke ‘would probably never have been formed without his guiding ee ee ee ee OO ene ear CR en ee eC ae) only ever on 785). Without Dennis Rose the careers of these musicians, and British jazz in general, would have been much Soa Pe VIC DICKENSON SPN a eee expression. By combining lip tricks with slide technique, repertoire of smears, growls and sudden swoops can be deployed. in the wrong hands, these devices can seem jokey. Vic Dickenson, who died on November 16 in New York, used them all and in the process developed a personal style that was both idiosyncratic and hugely rewarding. A Dicken- Pe oC ne mar it es Soeur iu nuEr RA sr Se rans See ee ee OL eck er ‘moving on to Zack Whyte and was with Claude Hopkins from 1936-39, these bands bringing him into some prominence. Later with Count Basie for a year where, to his disappoint- ‘ment, he soloed seldom, Dickenson then worked with Eddie CO ree ek ek ee rs ‘Much in demand for small-group recording sessions, he later tried traditional jazz and was a popular choice for all-star festivals, touring internationally very frequently. He appeared with the World's Greatest Jazz Band, the Saints and ee ee er ers Hackett which the trombonist considered as his “happiest era Dickenson’s wry, sometimes laconic, improvising methods brought him few imitators but a host of admirers. His ec eet tee Sc een rt eet the best known but almost any record that bears his name recency Peter Vacher COLLIN WALCOTT oR Oe eC Ra) ee ee eee) November. He was thirty-nine years old. The accident happened near East Berlin during the final stage of Oregon’s German tour. Road manager Jo Harting, who was driving the group, died a week later from injuries sustained in the crash. Guitarist Ralph Towner and oboe- player Paul McCandless, also in the van, were unhurt. ieee nee kee gon's sound when the band was launched, initially as a splinter group of the Paul Winter Consort. He was a player eC er eRe a a eee oe ee Tey would have shrunk from so glib a definition. A serious eee a Reece borrowings from them. The problem, he said, was to use all these elements “without turning the whole world into milktoast”. But he also loved jazz, and his ability to improvise ee mes ee oe eee os say, a Bill Evans composition interpreted impeccably was to have one’s perceptions shaken and stirred. As a tabla-player PC eee ee eee rd Ee Oe ee Garrison and Jones, he counted his own collaboration with CU er a eer Perce ractcs In addition to his work with Oregon, Walcott had a long Tn en ee eg ea also toured and recorded with Codona — a trio with Don Rene Oe oe aay ee ete ecu err an EN Coe Eee rs ae ery ced