Sandy Brown Jazz
What's New
May 2025

The New Orleans Jazz and Heritage Festival took place on the 25th April. One of the regular events is a showcase for lesser-known talent: local school children. Gospel choirs from area high schools took the stage on Friday at the festival's Gospel Tent, continuing a decades-long tradition for Louisiana students. From the images and videos the energy and fun are tangible! Here is a short video about the event. Chicago is also alive with its St Sabina Youth Choir here; and in Alabama the Birmingham Youth and Young Adult Fellowship Choir here.
Two Stories
A new book by trombonist and author Vince Prudente contains two stories: You Can't Do That and If It Doesn't Kill You. Published on 25th April the introduction reads: "At the heart of these two stories is a deep love for jazz - the music that shapes lives, fuels dreams, and overcomes adversity. In 'You Can't Do That, ' Louise, a young African American girl in 1940s Georgia, begins her musical journey with piano lessons. But when her father leaves, and money grows tight, her lessons come to an end. Years later, after moving with her mother and brother to Detroit, Louise's passion for music is reignited, especially when she discovers the transformative power of jazz."
'If It Doesn't Kill You' follows Bill, an accomplished jazz musician in his early thirties, as he fights to break into the highest levels of the jazz scene. But as success looms, so do challenges: romantic entanglements and life-altering events threaten to pull him away from his first love: writing and performing jazz. Together, these stories celebrate the struggles, triumphs, and unwavering passion of musicians who live and breathe jazz." Details are here.
Eve Duke (Yvonne Lanauze) at 100
Canada's British Columbia News reports on how pianist Eve Duke (Eve Smith) is still playing jazz at 100 : "There’s a star on the piano at the St. Vincent’s: Langara long-term care home. Once a week Eve Duke performs for her fellow residents at the Jazz Café. “It makes me feel good, because it means I’m actually doing something they like, and that’s good,” said Duke. Born in Washington, D.C., Eve was in her early 20s when she got her big break, discovered by Duke Ellington who wanted her to sing in his orchestra. "I could barely stand up,” Eve said about the nerves she was feeling during her first gig with Ellington. "She toured and recorded with Ellington under her stage name Yvonne Lanauze, while connecting with many musical legends in the years that followed..." The full article is here. A nice documentary video about Eve (worth watching) is here.
Jazz FM Awards 2025
The Jazz FM Awards resumed this year with an event on 24th April in London. Billy Cobham received a 'Lifetime Achievement' Award; Jamie Cullum an 'Impact' Award and Melody Gardot a 'Gold Award'. The 'UK Jazz Act of the Year' was awarded to corto.alto; the 'Vocalist of the Year ' Alice Zawadzki; 'Album of the Year' Ezra Collective's Dance, No One's Watching; and 'Instrumentalist of the Year' Mark Kavuma. The full list of winners is here.
International Jazz Day
International Jazz Day 2025 was celebrated on 30th April. This year's Global Concert was staged in Abu Dhabi featuring 19 artists representing 11 countries. A video of the event, broadcast live on the day, is here.
Jazz In Zimbabwe
The interest in Jazz in Zimbabwe is illustrated by the plans made to commemorate International Jazz Day on 30th April. As an article in Zimbabwe NewsDay shows "Jazz music in Zimbabwe is one such style that has grown through cultural nurturing and assimilating established prominent Western and African jazzers. The pioneers of Zimbabwean jazz include, and are not limited to, August Musarurwa, whose timeless hit (Skokiaan) was rerecorded by the likes of Louis Armstrong and Hugh Masekela. Dorothy Masuka, Prince Kudakwashe Musarurwa, Oliver Mtukudzi, Victor Kunonga, Tanga Wekwa Sando, Louis Mhlanga, Edith Weutonga, The Cool Crooners, Jazz Impacto, Jabavu Drive and Summer Breeze make the partial list of the Hall of Fame for Zimbabwean jazz. The list continues to grow as schools and colleges take Jazz music as an integral part of their teaching and learning......". The full article is here.
A Review Of Jazz In England
Consulltation on this Review (now a Green Paper) has been extended until 30th June. If you haven't yet seen the Review, details are here including how you can add your views: A Review Of Jazz In England .
A Survey Of Live Music In The UK
A Survey of Music Fans' views on live performance in the UK has also now been published. This is not specifically Jazz-orientated but still has a bearing on live jazz. A list of recommendations from Cardiff University is here.
Pianist Gabriel Latchin's Trio (Jeremy Brown, bass; Joe Farnsworth, drums) plays It Ain't Necessarily So from their new Gershwin album The Man I Love released in May.
Here's an interesting video from 2012. Digby Fairweather and Friends are joined by James Tormé (son of Mel) singing Lullaby Of Birdland. They were at the National Jazz Archive in Loughton, Essex on 30th June and featured Digby Fairweather (trumpet), John Altman (playing a curved soprano sax), Laurie Holloway (piano - who sadly passed away in January 2025), Len Skeat (bass - who passed away in 2021) and Peter Cater (drums).
Italian vocalist Diana Torti sings In Spite Of Everything in Rome last year with Sabino de Bari (guitar). Diana is based in London and the song is featured on her 2023 album It's All We Have.
The great Shaye Cohn and Tuba Skinny play Jubilee Stomp one evening on Royal Street in New Orleans.
Janette Mason introduces her new album ReWired in this preview video [See Recent Releases and article by Howard Lawes below or here]
Saxophonist Jon Lloyd introduces his new Quartet and his approach to his music. Having watched the video, listen to them play the lovely Breaking The Waves here.
The Story Is Told
Jazz and Gospel Music

In an short article by Lucas Walter in 2020 (here) he writes about the relationship between Gospel and Jazz music; the differences and similarities. "The advantage of learning to play gospel music as a kid growing up in church was gaining the ability to hear and play piano (or keyboard). No matter how many rehearsals we held beforehand, the set-list never stayed the same during the actual church service. We had no other option as young musicians than to listen, figure out, and learn on the spot during the service. Frustrating as this experience was back then, I developed my ability to hear and play unwittingly and prepared myself for my journey into the world of jazz."
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Chris Barber and others have underlined the similarities with albums like Chris's Jazz Sacred and Secular and Hot Gospel. Here is I Never Shall Forget from Hot Gospel Revisited:
The following story is an extract from the book Black Gospel: An Illustrated History of the Gospel Sound by Viv Broughton:
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"'Gospel's always been full of people who didn't quite fit the mould. Bessemer in Alabama for instance was renowned for its sensational quartets and any local guy with half a voice would fight tooth and nail for a place in the Kings of Harmony or the Blue Jays or the Swan Silvertones or any of a score of others. Yet in that town there was still Prophet Jones, bedecked in gorgeous robes, playing piano with his feet, who in turn inspired the young Alex Bradford to become everyone's favourite gospel showman through the 1950s and 1960s.
Immediately post-war, Bradford (as he became known to all and sundry) shipped himself out of Alabama and into Chicago where Mahalia and Roberta Martin reigned supreme. Roberta would introduce him at a programme as part of her regal patronage. 'So I got up, and they'd never heard a man make all those high soprano notes before. Baby, they were carrying folks out bodily.'
In the mid-1950s he formed the very first all-male gospel group - the Bradford Specials ..... they suddenly hit with Bradford's own song and subsequent gospel standard Too Close To Heaven. It sold well over a million copies and Bradford camped it up all over as the 'singing rage of the gospel age.' By the end of the 1950s he was using the occasional female voice in his group and Madeleine Bell joined him out of the Glovertones in 1960 ....' *
Here for a video of Alex Bradford singing Lord, You've Been So Good To Me.
This gospel song has been recorded by Ken Colyer, Chris Barber, George Lewis and others as Lawd, You've Sure Been Good To Me, and today we have projects such as jazz pianist Cory Henry's 2016 Revival Project - the 2 CD album is here. There are several videos on YouTube, here is one:
Insight
Blue
by Seungmin Jung

Seungmin Jung is a versatile bassist from Seoul, Korea who moved to America and earned a master degree from the Manhattan School of Music. His debut album, Anecdotes, was released in February. His band for the album has musicians from many different countries who have come together in America: "Spring was beginning to show its face, though the air was still cold, when I decided to record my debut album. When it came to choosing my band members, it didn’t take me long. I had appreciated Felix Ambach’s drumming from the very first time I heard him. I still vividly remember how supportive he was - always putting effort into making the whole band sound better, rather than trying to stand out for himself. That kind of musical selflessness is rare, and I knew I wanted that in the group. As for the front line, I often thought about it like positions in football. If Tal Kalman is the one-top striker - powerful, direct, with the ability to score at any moment - Daphnis Moglia is more like the left wing: lyrical, emotional, with a smooth tone that brings contrast and balance. That contrast between the two was very much intentional on my part. Bomin Kim, with her classical piano training and background in music that lives outside traditional jazz boundaries, brought something unique. I trusted her intuition to interpret my music in a way that opened up new possibilities and directions for the band. Johannes Ravn was the last member I chose. Funny enough, I hadn’t originally planned to include guitar in this project. But when he subbed for Bomin one time, something clicked. His unique tone and the way he approached my music felt just right, and from that moment, I knew I wanted him in the group. We come from all over the world, and I’m so grateful our paths crossed. Since none of us are originally from the U.S."
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The first track on the album is Blue. It is a melancholic number, befitting the title, but what was the inspiration? Seungmin says: "Writing music, for me, isn’t just about theory or craft - it’s about listening to what my heart tells me in the moment. Intuition is easy to overlook, but inspiration is always around us - in the scent of spring air, a short humming by a kid on the train, or even in a mouse darting across the subway tracks. I try to catch those moments, hold them close, and let them shape my music."
"About six years ago, I watched (the Japanese movie) Tokyo Night Sky is the Densest Shade of Blue just because the title caught my eye. I didn’t even check the reviews like I usually do. The movie was pretty dark, all about young people feeling lost, dealing with death and loneliness. It wasn’t exactly uplifting, but something about it felt really real to me. I could relate to the characters and their quiet struggles. What stuck with me most was the color blue. It felt like more than just a color - it had a mood, a personality. Sometimes it felt warm and gentle, other times cold and distant. That complexity really hit me. Later, I wrote a song called Blue, inspired by that feeling. I wanted to explore all the different sides of blue - calm, intense, sad, peaceful."
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IMDB (the International Movie Data Base) sums up the story of the film: "Newcomer Shizuka Ishibashi throws herself into the role of Mika, a nurse by day, a 'girlie bar' hostess by night, subject to feelings of anxiety and isolation, and unable to reach through a hard outer shell that stops her from expressing tenderness to anyone else. Sosuke Ikematsu, one of Japan's most important young actors, stars as Shinji, who struggles as a day-hire construction worker with a sense of impending doom, but who still tries to find the source of an unnamable hope he feels inside. The setting is Tokyo in 2017, where empty words, a sense of doom, and feelings of isolation co-exist with hope, trust, and love. In the sense of real life conjured up in these two people is a new kind of film: the densest kind of love story."
Here is a trailer. There is a monent at 3.51 minutes in when the actors capture a really nice moment of a relationship.
The movie is currently available on Apple TV, and here is a video of the band playing Seungmin's composition, Blue.
Anagram
Janette Mason
ReWired
by Howard Lawes

Last month’s Whats New (April 2025), featured Paul Desmond playing his version of the traditional English folk song, Greensleeves, emphasising that some of the best jazz performances use music that was never intended to be played as jazz. Other examples include John Coltrane playing My Favourite Things, composed by Richard Rodgers for the Broadway musical, The Sound of Music, and Sketches of Spain by Miles Davis that started life as the Concierto de Aranjuez composed by Joaquin Rodrigo. Quite apart from the actual performance, what makes these iconic jazz pieces great is also the quality of the arrangement. Sometimes, as with Paul Desmond and John Coltrane, the performers do some or all of their own arrangements but for larger ensembles, and to achieve a polyphonic yet cohesive result, a specialist arranger, such as Gil Evans, who worked on Sketches of Spain, is employed.
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The job of an arranger is to take either new or existing music and to decide the contribution of each instrument in a performance. The ensemble may be ready-formed, in which case the arranger must understand what a particular instrument or musician brings to the ensemble, or the arranger can introduce new instruments to enhance the sound and texture of the performance. The arranger may also alter the composition in terms of tempo, rhythm, harmony and dynamics to a greater or lesser extent. Arrangers need a thorough understanding of music theory and, particularly for small ensembles, they also need to understand the personalities involved.
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Janette Mason’s new album, ReWired, available here, features nine tracks, one new composition and eight new arrangements by Janette of tunes that she loves and that have been chosen to illustrate different eras of music. On the album Janette plays piano and keyboards, Tom Mason plays bass and Eric Ford plays drums. Paul Booth plays saxophone on two of the tracks and Roderick Lewis Frazier, Brendon Reilly and Natalie Williams provide vocals on another.
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Here is a short introductory video for the album filmed at the Pizza Express Jazz Club in Soho..
Janette grew up in a musical family, her mother being the keyboard player in Gracie Cole’s all female band that was active from 1952 – 1956. Subsequently Janette’s mother became the musical director at a south coast holiday camp, a job that included leading the house band in support of visiting star performers. Janette remembers the Canadian trumpeter Maynard Ferguson and American vocalist Dakota Staton performing with her mother and listening to Sergio Mendes and other latin-american music from the extensive family record collection. She and her sister would sing along, approximating to the Portuguese lyrics.
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Janette followed in her mother’s footsteps, learning the piano and passing all the classical piano grades while at school. After school, rather than study music at college she began playing the piano in pubs and clubs, learning valuable lessons about audiences and establishing a reputation as a versatile accompanist for all types of artists. As she became more well known she became an in-demand session player and then musical director for singers and bands on tour such as Jimmy Sommerville, Pulp, Oasis and Seal. The two gigs that she played in with Oasis at Knebworth in 1996 had a combined audience of 250,000 people, a record number for an outdoor gig in the UK. Looking to diversify into other fields of music Janete attended the London College of Music where she gained a MMus. degree in composition for film and television.
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Janette combined her work in popular music with a parallel career in jazz, music she had always loved since her youth, inspired by her parents record collection, and particularly a tune called April Joy by guitarist Pat Metheny. Her large body of work with the singer Carol Grimes includes an album called Alive at Ronnie Scott’s (1994) and she also featured on albums by Robert Wyatt, Claire Martin, Deirdre Cartwright and Ian Shaw as either musician or arranger before producing her debut album, Din and Tonic (2004). Janette continued her musical direction work at Pizza Express Jazz Club in London and diversified into TV shows, and by making good use of her studies at the London College of Music she composed scores for several feature films. Din and Tonic and the following album, Alien Left Hand (2008) featured many well-known musicians as well as the vocalist Lea DeLaria. Most of the tracks were new compositions by Janette and the albums were very well received with Alien Left Hand nominated for a Parliamentary Jazz Award. Her next album, D’Ranged (2014) marked a change of direction in that almost all the tracks were new arangements of existing songs. John Fordham in The Guardian regretted the move away from jazz but nevertheless praised the album for its superb singers, jazz-steeped session band and arrangements that sympathetically reinvent the songs.
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Here is a video of Dominatrix from Alien Left Hand played at the Hideaway in 2015.
Jazz Remembered
Lord Donegal

The spelling of 'Donegal' varies being shown at times with one or two ‘L’s. The county of Donegal in Ireland is now spelt with one ‘L’. Named after the town of Donegal, it is the largest county in Ulster. The county has a long and complicated but interesting history. Originally known as County Tirconaill (in various spellings), it is best known for being the home of the great Clann Dálaigh, better known in English as the O’Donell Clan based at Donegal castle.
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It was trombonist Jack Free who first told us about the Marquess of Donegall. Jack wrote: "In 1956, we played at a private party for Lord and Lady Donegall, and the guests of honour were the great Louis Armstrong and Mezz Mezzrow ... Lord and Lady Donegall had a club along the Embankment in London, a big house with a great tapestry on the wall – reminded you of the Bayoux Tapestry. It was really a jazz club for debutantes, but all the major visiting musicians played there – they would say “Let’s go down the Lords”, as if it were the cricket ground! Judy Garland, Sophie Tucker, Louis Armstrong, George Lewis – they all played there."
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Jack tells us that the Donegall's club was called Crosby Hall on the corner of Chelsea Embankment and Danvers Street. "Lord Donegall's first wife ran off to the USA, and eventually married F Scott Fitzgerald," Jack recalls. "His second wife who we knew as Jean, was a very nice Lady and very interested in Jazz. She came from the Coombe family (as in Watney, Coombe & Reid, the Brewers)."
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Of the above photograph Jack says: "This is the band with Lord and Lady Donegall. Lord Donagall is the chap in the white jacket, Lady Donegall is behind him. Harry Walton is behind Lady Donegall on her right shoulder, next to him is drummer Frank Thompson. The chap in glasses is trumpeter Johnny Rowdon. That's me with the trombone and Colin Thompson, a wonderful clarinet player."
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"I remember one night our bass player never turned up, and Harry Walton, the bandleader asked me if I would take Lady Donegall to Mac`s rehearsal rooms in Soho to find someone to deputise. When we got there I dropped her off, as I couldn't find a parking space. I said to her: "You go down and see if you can find a dep and I will keep circling around and pick you up here on the corner." Anyway, after some time I saw her on the corner and picked her up. She had managed to get a bass player, but she said she had been accosted twice while waiting for me. She said: "I don't know whether I should be outraged or flattered." On another occasion, I bought a new trombone and at the end of the evening I found £20 in my case. She had given it to me towards my trombone! Fifty odd years ago that was quite a lot of money."
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"On another occasion, they sponsored us to go to Zurich, Switzerland to represent Britain at an International Jazz Festival. It was a terrific experience as there were bands there from all over Europe. We did a broadcast with Switzerland's top trumpet player, his name was Hazy Osterwald - I hope I have spelt that right) He was their Kenny Baker. All in all, they were happy days. Unfortunately, I think I am the only one left out of that band".
Two Ears, Three Eyes

This picture of pianist Terence Collie was taken by Brian O'Connor LRPS from Images of Jazz at The Clocktower in Croydon in April when he was playing with Stuart Henderson's Quartet.
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Brian says: "On a sunny mid-day in Croydon (and does Croydon need it!) the Clocktower Cafe Jazz Club with the Stuart Henderson Quartet provided a wonderful two hours of relaxing jazz in bright surroundings. From a Blue Mitchell calypso through the Great American Songbook, taking a request (Misty) and finishing with a Doris Day tribute, Once I Had A Secret Love, this proved to be the perfect anecdote to much of today's doom and gloom."
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Terence Collie grew up in Jersey but relocated to mainland UK where he secured a prestigious residency at Pizza Express in Cambridge. His passion for jazz-fusion led to the formation of the band Prison Break, yielding two acclaimed albums - Reminiscent, and 384,400. His new album, Elements, was released in February. You can find out more about him on his website here, and here is a trailer video for the new album:
The Stuart Henderson Quartet:
Alfonso Viltale (drums); Stuart Barker (bass); Stuart Henderson (trumpet); Terence Collie (piano)

Who Is He?
We can both hear you being called by the pipes across the mountains and valleys. Summer’s gone and I know you have to go too. I can’t come with you, but please come back and find me, whether it’s summer or winter when the valley is white with snow. I’ll be here, in sunshine or in shadow, even if by then I have passed away. If that is so, come and find the place where I am lying, and kneel and say an ‘Ave Maria’ for me and tell me you love me. I will hear you and I can sleep in peace until you come to me.
Click on the picture for the answer
Georgia Mancio and Alan Broadbent
A Story Left Untold
A young woman was waiting tables at Ronnie Scott's club in London .......
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Georgia Mancio's Italian parents met and married in the UK and Georgia was born in England, so she is presumably Anglo-Italian - "though I just prefer to say European these days!", she says. Her father was a technical translator but also an artist and photographer, and her mother a retired Italian language and literature teacher. Georgia studied classical flute for a while although she really wanted to sing, but her grandparents, both classical pianists, suggested she should take time for her voice to mature. Taking their advice, she didn't start singing until she was nineteen and singing seriously when she was twenty three. By then she had become hooked on recordings by great vocalists such as Sinatra, Betty Carter, Carmen McRae, etc. She learned their songs by heart and took note particularly of the way they expressed their music. Eventually, Georgia left home and went travelling. On her return, as she told Jazzwax, "I wound up studying film-making while waitressing part-time at Ronnie Scott's jazz club in London. Ronnie's was the best schooling. In my five years there, I heard the finest international and local musicians. I also learned that art was a living, breathing, sweating, messy, ugly, beautiful thing, not just the stuff of records, movies and dreams. Over the years, I learned to sing on the job, with answers to my questions provided by listening to inspiring musicians."
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"When I worked at Ronnie’s, Simon Woolf recommended I listen to Irene Kral as I was just starting singing. That led me to the sublime duo albums she made with Alan Broadbent. In 2012, I sent Alan an email asking if he ever wanted to do any UK gigs with a singer totally unknown to him! That led to some duo gigs the following year and later the start of our songwriting partnership.’
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With their first album together, Songbook, Alan suggested that Georgia write lyrics for a tune by Charlie Haden's Quartet West The Long Goodbye. It coincided with Georgia’s final visit to her father’s house and became ‘The Last Goodbye’ on the album – a subtly emotional story of loss and coming of age
Alan Broadbent is recognised as a leading American jazz pianist, composer and arranger with credits as impressively far-ranging as Diana Krall, Natalie Cole, Woody Herman, Johnny Mandel, Paul McCartney, Chet Baker, Warne Marsh, Bud Shank, and iconically Irene Kral and Charlie Haden’s Quartet West. Alan was born in New Zealand where he studied piano and music theory, but he then moved to America in 1966 to study at the Berklee College of Music. He became Natalie Cole's pianist and conductor and his arrangement for her video When I Fall in Love won the Grammy Award for 'Best Orchestral Arrangement Accompanying A Vocal'. Another Grammy Award followed for his arrangement of Leonard Bernstein's Lonely Town on a recording by Shirley Horn.
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Alan has said : "Every once in a while, melodic inspirations would pop into my head uninvited, expressing my inner feelings with just notes and chords but without words. That is, until they met Georgia Mancio. She has the same love for song as I do and knows the language they need to speak to the heart. She also found, word for word, note for note, solutions to my sometimes enigmatic titles and gave life to the sentiment they implied.”
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But Georgia is in the UK and Alan in America. How do they work together?
Did You Know?
Four

Eddie "Cleanhead" Vinson
I need to thank trumpeter Charlie Ballamy with reminding me of the controversy over this Jazz Standard. It was first recorded by the Miles Davis Quartet on their 1954 album, but although Miles is credited as the composer, it has been claimed that saxophonist Eddie "Cleanhead" Vinson composed the tune. It is not clear whether Miles purchased the song.
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Eddie Vinson was a jump blues, jazz, bebop and R&B alto saxophonist who lost his hair using a hydroxide, lye, when trying to straighten his hair. Shaving off what was left, he liked the look and so kept his head shaved which led to his nickname "Cleanhead". Here he is in a video with The Count Basie Orchestra and Person To Person.
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Four has been subsequently recorded by many jazz musicians. Apparently Lambert, Hendricks and Ross used Miles' solo on their 1958 album "The Swingers" (here) which caused some conflict between Hendricks and Davis.
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So here is the Miles Davis recording:​
Time Out Ten
Pat Metheny
Bright Size Life
For this item you need to be able to stop for ten minutes.
We are often moving on to the next job, the next meeting, scrolling down social media, taking the next call ......'Time Out Ten' asks you to stop for ten minutes and listen to a particular piece of music; to find a time when you won't be interrupted, when you can put in/on your headphones and chill out. Ten minutes isn't long.
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This month the Pat Matheny Trio - Pat Matheny (guitar); Jaco Pastorius (bass guitar) and Bob Moses (drums) - play the title track from Pat's 1976 debut album Bright Size Life. It lasts for just under 5 minutes, so there is time to hear it again - it is worth hearing the second time around.
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The songs were written when Pat Metheny was living in Boston and teaching at the Berklee School of Music. The album was recorded in December 1975 and released on the ECM label in March the following year.
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Theo Bleckmann in Jazztimes says: "I love how Metheny dives right into his solo with no hesitation. There’s a lightness and fluidity to it all that I respond to: The ethereal nature of some of his upward-spiraling lines landing right on these bluesy riffs - while locking in with Jaco Pastorius and Bob Moses - makes me giggle and sing along every time."
Les Black in Everything Jazz writes of the album that was initially poorly received: " ... The ECM studio discipline might partially constrain the live energy of the band, but this recording established many of the unique elements of Metheny’s oeuvre. All the pieces are written as vehicles for improvisation and follow the traditional bebop structure of head-solo-head, but they have complex elements that are signals of what was to come. ... In their different ways, both Metheny and Pastorius were expanding the tonal capacity of their instruments. The classic jazz guitar – the Gibson ES-175N – took on an expanded, haunting tone in Metheny’s hands, while Pastorius’ electric fretless bass created a radically new sound in jazz that has influenced so much of the popular music that followed...."​
The Jazz Quiz
Let's Get Quizzical

Hello. In the quiz this month we give you fifteen jazz-related questions to exercise those little grey cells. How do you do?
The May Jazz Quiz is
Lens America

Journalist/guitarist Filipe Freitas and photographer Clara Pereira run JazzTrail in New York City. They feature album and concert coverage, press releases and press kits, album covers and biographies and they are valued contacts for Sandy Brown Jazz. You can read Filipe's reviews of album releases here and see Clara's gallery of pictures here.
Clara Pereira took this picture of pianist Vijay Iyer when his Sextet was playing at the Village Vanguard in New York City.
Born in Albany and raised in Fairport, New York, multiple award-winner Vijay Iyer has been voted Jazz Artist of the Year in Downbeat's international critics' polls in 2012, 2015, 2016, and 2018. He has degrees in mathematics and physics and in the world of music he started learning the violin when he was three and began playing the piano by ear in his childhood - and he is mostly self-taught. The list of his collaboration with other musicians is awe-inspiring as is his composition work and discography. You can read about him here and in his website here.
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Vijay's latest recording is a collaboration with legendary trumpet player Wadada Leo Smith, Defiant Life. Vijay says: "This recording session was conditioned by our ongoing sorrow and outrage over the past year’s cruelties, but also by our faith in human possibility."
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Filipe Freitas at Jazztrail writes in his review " ... Iyer’s “Kite”, written for the late Palestinian writer and poet Rafael Alareer, highlights the duo’s remarkable synergy in a piece that is both plaintive and luminous. Here, Smith’s trumpet emits bouts of light. Iyer and Smith follow a more contemplative philosophy weaving deep lyrical contours with a sense of spontaneity. They prove that there’s no need to be bound by rules. They simply need their freedom."
Listen to Kite here.
Rules For Painting Windows
by Matt Fripp of Jazzfuel
Matt Fripp set up his own music agency and website, Jazzfuel, in 2016, since when he has established a client base across many countries. Although born in the UK, Matt is currently based with his family in Paris, France, but the international aspects of his work make little difference to his location. What is different about Matt and Jazzfuel is the information that he shares publicly on his website. Matt has kindly agreed to share some of his thoughts as an agent with us from time to time:
Windows, doors and shutters where we live have to be specific colours - and that choice is reduced further depending on which specific village you're in! The rules force everyone to follow the same rough aesthetic - same roof tiles, wall materials, colours, fences. The result? A beautiful, consistent visual identity. Visitors don’t come for the pretty houses ... but it adds a magic that makes them come back, post photos, and even hand out awards for how good the villages look.
And weirdly, I think it’s a great metaphor for building a music career. Because the same principle applies:
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No promoter will book you because you have a beautiful website.
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No fan will buy your music because your Instagram feed looks good.
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No journalist will review you because your press photos are cool.
But if those things are messy or out of date? It will affect how people see you - often without even realising it. As a former booking agent, I can’t tell you how many times I clicked an artist’s website, saw a broken link or outdated video, and thought: “This person is probably disorganised and complicated to work with.” As a fan, I’ll land on a site, look for a play button or newsletter signup... if I can’t find it in 10 seconds, I’m gone.
So no, branding isn’t everything. But it’s one of those invisible factors that lifts everything else up. It’s the nicely painted door and tidy front garden of your music career. And the good news? You don’t need to hire a design agency. You just need to make a few intentional decisions and stick with them: colours, fonts, images, tone of voice. You can learn most of what you need for free from a few YouTube videos and an afternoon of focused effort .....

All the best.
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Matt
Forum
Dave Burman
American trumpeter Jeff Wilson writes: "One November, I took a short vacation to London when British Airways started non-stop flights from Denver, Colorado to Heathrow. After flying overnight, I arrived in London, cleared customs and found my way to my bed & breakfast in a dormitory at a teacher's college on the east side of town. After getting settled in, I went looking for a pub and some food. Being a Friday evening, the pubs were busy and I wasn't able to secure a table. As I turned away from 1 pub I saw a trombone player walking down the street. I caught up with him and explained that I had just arrived and asked if I could tag along to his gig. When we arrived (I later found out that I was in the lobby of RADA), the trombonist introduced me to a saxophonist named Keith. While they were setting up, I retreated to the bar and ordered a Carling's Black Label and a bag of potato chips to enjoy the music.
During the break, the trombonist introduced me to Dave Burman as a trumpet player from the States who had just arrived that morning. Dave looked at me and queried, "Are you any good?" Yes. "Do you read music?" Yes. "Can you play this?" Piece of Cake. He then went on to explain he hadn't played a lot of trumpet recently and he was normally the piano player, but couldn't find a trumpet sub for the band that night. He asked if I would take his horn and sit in for the 2nd set. It was an honour to sit in and play that evening. It wasn't until we had finished that he told me he had had a long-standing engagement at the 100 Club. I occasionally exchanged e-mails with him for a few years, but had not gotten a response the past couple of times. I recently found a reference to Molly Burman that mentioned Dave 'was the leader of the Vintage Jazz Orchestra.' With the sight-seeing I did around London for the next 4 or 5 days, my encounter with Dave Burman was definitely the highlight of the trip. As I lift a pint to Dave, I leave you with a hearty "Cheers".
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[Dave Burman passed through the Departure Lounge at the end of 2024 a link to the London Vintage Jazz Orchestra is shown in our Photographic Memories albums (here). Jeff now plays mostly with community concert bands in America , but picks up some 8 to 10 piece dance orchestra gigs and some musical theatre pit orchestra here and there. Ed]
Lord Donegal
Colin Bray writes: " I've been getting your digital magazine for quite some time and really appreciate it. A lot of the material is not my sort of thing, I am particularly interested in the period when Sandy Brown was playing inthe 50s and early 60s. I remember searching for some information on Lord Donegal and his jazz activities and tried to do so today but
discovered the links to the archives aren't working. Is there any chance of correcting this? I have several acetates made by Lord Donegal and was chasing up information. I've been interested in the British Traditional jazz scene from the 40s to the end of the 50s ever since I was in my late teens. My father was present at the very first evening George Webb's Dixielanders played at the Red Barn in Barnehurst and in fact went to all the performances up until his majesty invited him to go overseas to fight for him in May 1945. I probably have one of the largest collections of that period of Bitish jazz on 78 rpm recordings including many unissued test pressings and private acetates."
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[I have now updated our page about jazz fan and supporter Lord Donegal. It is partly in this month's What's New but in full here. Ed.]
Davenport Blues - Alex Welsh
Richard Aylmer-Hall asks "Hi Ian. Bit of a long shot, but worth a try... I came across this website while hunting online for a transcription of the piano and cornet parts for Bix Biederbecke's Davenport Blues, as arranged and performed by Alex Welsh and Fred Hunt (in the second part of our article here. Ed.) My son loves to play the tune on trumpet, playing along to the recording (from YouTube here), but it would be great if I could give the piano part to an accompanist so he can perform it properly. So my question is whether you are aware of any transcriptions of this version?"
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(Has anyone made a transcription, know of one, or are able to help Richard and his son? Ed)
The Violin In Jazz
Mark Kass, Executive Chair of the National Jazz Archive sends detail of the next NJA fundraising gig at 1.30 pm on Saturday 10th May. Mark says: "Building on the past successes of our “Story of” live music series where we were introduced to the harp in jazz by Tara Minton and the vibraphone in jazz by Orphy Robinson, we’re excited to tell the Story of the Violin in Jazz by the incredibly talented Ezo Sarici’s Trio Kamen. Ezo has been playing and performing at the Royal Academy of Music since she was just 4 years old and last appeared at the NJA as part of Nick Smart and Jonathan Meyer’s INDO JAZZ FUSION band who took us through the fab music of Joe Harriot and Jonathan’s Dad, John Meyer. Ezo now leads an incredible trio of her own and takes us along a jazz violin timeline through the centuries. We’ll hear music and stories from Grapelli, Jean-Luc Ponty and some of Ezo’s own compositions. The event takes place at Loughton Baptist Church in Essex. Details are here.
Departure Lounge
Information has arrived about the following musicians or people connected to jazz who have passed through the 'Departure Lounge' since our last update.
When this page first started, links to newspaper obituaries were free. Then increasingly advertisements were added and now many newspapers ask for a subscription to read a full obituary. Where possible, we initially link to a Wikipedia page which is still free of charge, but we also give links to newspaper obituaries in case you want to read them.
Francis Davis

American author and jazz critic for The Philadelphia Enquirer and The Village Voice who also worked in radio and film, and taught courses on jazz and blues at the University of Pennsylvania. Born in 1946 Francis passed through the Departure Lounge on 14th April 2025. Obituaries: Wikipedia : The New York Times :
Anthony Hopkins

UK jazz critic who succeeded Philip Larkin at The Daily Telegraph. He made a pilgrimage up the Mississippi in a vain attempt to locate the trumpeter Bunk Johnson’s false teeth and dropped off a paddle steamer. At the time of writing his obituary is available on a paid for basis in The Telegraph.
Recent Releases
A few words about recent releases / reviews:
Apart from where they are included in articles on this website, I don't have a 'Reviews' section for a number of reasons:
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I receive so many requests to review recordings it is impossible to include them all.
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Unlike some publications/blogs, Sandy Brown Jazz is not a funded website and it is not possible to pay reviewers.
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Reviews tend to be personal opinions, something a reviewer likes might not suit you, or vice versa.
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It is difficult to capture music in words, so much better to be able to listen and see whether the music interests you.
For these reasons in particular I just include a selection of recent recordings below where I share the notes issued by the musician(s) as an introduction and links to samples so you can 'taste' the music for yourselves. For those who like to read reviews, these, of course, can be checked out on other sites.
Some Recent Releases
You will find the Recent Releases page HERE where you can scroll down and see our featured releases. Included this month are:
UK
Georgia Mancio and Alan Broadbent - A Story Left Untold
Fini Bearman - Last Night Of The World
America
Vijay Iyer & Wadada Leo Smith - Defiant Life
Nicole McCabe - A Song To Sing