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Sandy Brown Jazz
What's New
October 2026

The Church of Sound in East London has a 10th year Anniversary event planned at the Barbican in November (details here). The venue is unusual; "Church of Sound is a regular gig in St James the Great Church, Lower Clapton Rd. A central speaker tower stands tall in the centre of the room, surrounded by musicians, audience and crew. Emphasis is placed firmly on the music: carefully selected, joyfully performed and cleanly recorded. Over the course of 24 hours, St James is transformed from a traditional worship space into a venue and then back again, leaving minimal trace. Our team is made up of musicians, music lovers, friends and family - we do our best to share this feeling of companionship with all those who walk through our big blue doors." Their website is here.

Music Creators Growth Fund

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Arts Council England has announced a new investment programme designed to support growth across new music. They say: "We define new music as: original music (such as live performance, sound recording or musical work) recently or newly created or performed by living, UK-based artists or music creators." Applications open on 1st October with a deadline of 29th October. You can find full details here.

Elliot Wong Wins 2026 Brubeck Prize

The Brubeck Living Legacy was founded by the family of Dave Brubeck and  continues Dave and Iola Brubeck’s commitment to music, creativity and education. In partnership with the Royal Academy of Music and ECN Music, saxophonist and composer Elliot Wong has been chosen as the winner of this year's prize. Originally from Sydney, Australia, Wong moved to London to study at the Royal Academy of Music, where he recently completed his postgraduate studies in jazz. He was unanimously selected by a panel of Darius Brubeck (Brubeck Living Legacy), Nick Smart (Head of Jazz Programmes, Royal Academy of Music) and Emma Perry (Director, ECN Music). This second edition of the prize is dedicated to the memory of Martin Hummel, founder of Ubuntu Music, whose vision helped establish the original Brubeck Living Legacy Prize. A video of Elliot and his band playing Wanderers is here.

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AI Videos

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The arrival of Artificial Intelligence (AI) has raised many questions, not least the security of musicians' and other artists' work. This video of A Ragtime Jubilee is one of several on YouTube now that has been AI generated. Where has the music been sourced? There don't seem to be any credits. It brings home the reality of the questions being asked.

Parliamentary Jazz Awards

The UK Parliament has a number of special interest groups. One of them is the All Party Parliamentary Jazz Group (APPJG) you can find out more here. Each year the Group makes awards under a variety of categories. This year, the awards will take place on the 13th October. Shortlisted for awards are:

 

Jazz Vocalist of the Year: Heidi Vogel : Lucy-Anne Daniels : Marvin Muoneke 
Jazz Instrumentalist of the Year: Joe Webb : Yazz Ahmed : Deschanel Gordon 
Jazz Album of the Year: “The Shieling” - Fergus McCredie : ‘Sema4’ - ARQ : 
“Alleviate” - Donovan Haffner : “Riversphere Vol. 1” – Iain Ballamy 
Jazz Ensemble of the Year: Knats : Tom Smith Big Band : Donovan Haffner Band 
Jazz Newcomer of the Year: Olivia Cuttill : Sylvie Noble : Ursula Harrison 
Jazz Venue of the Yea
r: World Heart Beat (London) : The Sound Cellar (Poole) :
Church of Sound (London) : Jazz Stroud (The Goods Shed) : The Bear Club (Luton) 
Jazz Media Award
: UK Jazz News : One Jazz : Richard Williams (The Blue Moment) 
Jazz Education Award : Jazz at Leeds Conservatoire (Celebrating 60 years) :
Julian Joseph Jazz Academy : New Generation Jazz  -  Jazz Futures 
Services to Jazz Award : Nikki Illes : Paul Jolly : Jean Toussaint
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Autumn Reads

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Alexa Peters at KNKX Radio in Seattle is suggesting some "essential jazz reads for the autumn"  - Alexa's summary of each of them is here. Included are: The History Of Jazz ; Miles-The Autobiography ; Stormy Weather: The Music and Lives of A Century of Jazzwomen ; Lady Sings The Blues ; Blues People: Negro Music in White America ; and Playing Changes.

Video Juke Box

Juke Box

Click on the pictures to watch the videos..... or take pot luck and click on the picture of the Juke Box and see what comes up. 

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A new album by Ezra Collective is something to savour. Here they are in rehearsal for their new album Here Because Of Hope that was released in September [see Recent Releases]

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Branford Marsalis and Diana Reeves introduce their new album Dedicated To You, celebrating John Coltrane [see Recent Releases]

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The crowd at this concert by the late Blossom Dearie shows just how popular she was. Here she is with I'm Hip.

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This is a great tune from ARQ (the Alison Rayner Quintet) telling us that All Will Be Well from their 2025 album SEMA4

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Yeah Man! Yeah Man! It's 1934 and here is the Don Redman band featuring Benny Morton's trombone and Sidney De Paris's trumpet playing.

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Here is a recent video of Martin Taylor (guitar), John Patitucci (bass) and Howard Levy (harmonica and keyboard) playing a fine version of Autumn Leaves to remind us it's October here in the UK.

Did You Know?
Dress To Impress

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Pianist Willie 'The Lion' Smith remembered:

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"It didn't take me long to notice that everybody in the entertainment business made it a point to dress sharp ...The guys that dressed to kill always got the good jobs. There were no such things as band uniforms then ... Now I'm going to give you the correct lowdown on how we all dressed in olden times .......First, we'll take the overcoat because that was the first garment the customers would see you in - in the cold season ... I favored a blue melton overcoat and suit to match. You could get a melton in blue, gray or brown ... My overcoat alone cost roughly 150 dollars - it could be pawned for a hundred bucks when new ... For dressing up I always wore a derby or a twenty-five-dollar Stetson hat with a soft brim. Derbies appealed to me because they were worn by the English, the rabbis, and members of my Masonic lodge. I found that by pulling the derby down in front it gave me mental poise while in action on the piano ..."

 

"I usually paid around a hundred dollars for my suits at Bromberger's. It was customary for entertainers to have at least twenty-five suits - you couldn't wear the same suits too often ... The style was full or box-back cut, square shoulders, and a padded lining. My pants were tight with long, peg-topped fourteen inch cuffs ....... One of the most important features of our attire was the shirt - when you worked with your coat off it was the policy to have a real fancy silk shirt ..."

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"Although we didn't show it like the gals did, we also all wore silk underwear. Yes sir, the colorful ladies around those places inspired us to tiptoe on all fours to compete with their feminine poise. Many of us carried a cane to balance our stride ... If we had diamonds, we flashed them. Some like the late Jelly Roll Morton wore diamond fillings in their teeth. I recall one tickler ... who even had a diamond set in one of his bulldog's teeth ......"

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(From Music On My Mind by Willie 'The Lion' Smith)

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In the 1930s and 1940s, big bands continued to wear suits and 'dress smart' then, in the 1950s and early sixties, came the 'jazz revival'. Trad bands wore striped blazers and boater hats; Dick Charlesworth and his City Gents were suited and booted, and Acker Bilk once told me that it was his agent that pushed for them to wear striped waistcoats with  bowler hats. 

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Some bands still wear the striped jackets, especially at summer fetes, and some big bands, like Alex Mendham above, still echo yesteryear in their presentation. 

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It would be interesting to know whether readers remember audiences wearing 'trends' when they went to jazz gigs - duffle coats, zoot suits, goatee beards ... let us know.

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Two Ears, Three Eyes

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Brian O'Connor LRPS from Images of Jazz took this picture of bass player Simon Read when Simon's Trio was playing at the Clocktower Cafe Jazz Club in Croydon on the 10th September. The other members of the Trio were Mark Crooks (reeds) and Colin Oxley (guitar).

 

Brian says: "I first heard and photographed Simon nearly ten years ago, and have seen him several times since.  Until this latest gig he has usually been a stalwart member of the group.  For the first time (to me anyway) he actually took the lead for a part of the gig and it was good to see and hear him in this way.  One of the satisfactions of being long in the tooth is that over the years I've had the opportunity to watch musicians mature and develop both in their styles and communication skills.  In both these departments Simon is doing very well."

 

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Details of Simon's upcoming gigs are here. His website is here.

Here is a video of the Trio playing Gotta Dance:

  

A Hymn For John Coltrane
by Robin Kidson

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John Coltrane is sleeping
In between the steely sheets of sound;
Even at slumber, the hands always move,
Fingers pressing imaginary keys,
Racing up, down and around the scales.

 

John Coltrane is dreaming:
He’s imprisoned in a cell
Of melody and rhythm,
And play what the paying customers want, Coltrane,
Or we won’t have you back again.

 

John Coltrane is thinking:
Why should I play just one or two notes,
When I could blow you away with a thousand?
Who says that’s the wrong way to play?

 

John Coltrane is breaking free
From the shackles of tune and beat,
The heavy hand of history,
Returning to the purest sound,
The universe expanding.

 

John Coltrane explaining,
It’s not anger it’s the love of God;
It’s a prayer, a hymn, a sacred chant,
A love supreme, a love supreme…

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Did the shadow of a doubt

Ever darken the mind of John Coltrane?

Did he ever think that perhaps,

He was just playing for himself,

And to hell with everyone else?

Was freedom just another set of chains?

 

John Coltrane is wondering,

From where and why, O Lord, the pain?

John Coltrane is catching the A-train,

The Blue Train, the soul train coast to coast.

John Coltrane is dying,

 

Now gone forever on a dying note…

Missing Letters
Replace the missing letters
for the song title

*A*N    *HA*    *R*AM

The answer is HERE

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Nicolas Meier World Group 
Elysian Shift

by Howard Lawes

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Elysian Drift is the latest release from Nicolas Meier on his own label, MGP Records, and is available here. Talking to Nic via Zoom he explained the thinking behind the title, the album cover, and the music. The Elysian Fields were a heavenly place in Greek mythology, but Nic Meier contends that happiness and joy is readily available on Earth by appreciating its wonderful landscapes, its peoples and its music. Nic, and his Turkish wife and artist, Songul are widely travelled and have enjoyed some amazing experiences. As an example, the track Mystical, on the new album, recalls a visit to Morocco. Nic and Songul were part of a group camping in the desert and as Nic hadn’t brought a guitar with him to Morocco, he bought one in the local town. With the guitar and some traditional percussion instruments the group created a night of beautiful music around the campfire which will stay with them for a very long time.

On his way home Nic donated the guitar to local children. In contrast to the joyful night in the desert, the death of Jeff Beck in 2023 was a great sadness. Nic Meier was part of Jeff Beck’s band during the period 2013 to 2015 including the Live in Japan tour and you can see him playing with Beck here. The tune being played, Yemin, was recorded as a track on Meier’s album Yüz (2007) and it was this tune, performed by Meier at Ronnie Scott’s, that brought Meier to Beck’s attention and led to his recruitment into Beck’s band. Meier paid tribute to Beck with the track Legend (for Jeff Beck) on his album Infinity (2016) and then created a whole album in his memory called Last Sunset (2024) with a band that included some former bandmates from Jeff Beck’s band.

 

Growing up in Switzerland, like many young musicians, Nic first learned to play classical music before discovering the rock music of Iron Maiden and Metallica. However, Nic’s father played jazz saxophone and Nic took advantage of the family record collection to discover the likes of John Coltrane, Miles Davis, Thelonious Monk and Jobim, who was a particular favourite. Jazz became Nic’s primary interest, which he studied at Berklee College of Music in Boston, graduating in 1998. Guitarist John McLaughlin, a leader in the development jazz-rock fusion, was a great influence along with Al di Meola and Paco de Lucia. However, Nic Meier’s first album, released in 2004, was fusion with a difference, performing The Four Seasons by Vivaldi arranged for the Modern Guitar Orchestra. Guitarist John Etheridge featured as a guest soloist on two additional tracks written by Meier.

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Travelling in Europe and Asia Nic became fascinated in Turkish music, as Dave Brubeck had done (Blue Rondo a la Turk), and learned to play the Turkish saz (or baglama). The traditional music of the region has a different basis to western music and features musical modes (maqams) with microtonal intervals. Later travels have led to the discovery of Indonesian music and collaboration with Dewa Budjana, a musician who has successfully fused traditional Balinese scales with jazz and rock. Over the last 20 or more years Nic Meier has established himself as the top UK based guitarist fusing jazz with the music from the Balkans, Turkey and the Middle East, Asia, Spain and Latin America. To do so he employs a large collection of guitars including fretted and fretless nylon-string, steel-string,2-string guitars, and glissentar (an eleven string, fretless guitar) and jazz guitar. He has participated as leader or sideman in at least 35 albums, self-producing both his own and the recordings of several others on his MGP label. This latest album, Elysian Drift, features 10 original and 2 familiar tunes, all of which recall people, emotions or places. The late movie star Charlie Chaplin lived in Switzerland, near Nic Meier’s childhood home. Chaplin’s house has now been turned into a museum, which Nic and Sungol visited, prompting the choice of the tune Smile, for the first track of the album.

Chaplin had a strong interest in flamenco and once welcomed guitarist Manitas da Plata to his Swiss home. A new member of Nic's band, Randolph Matthews, takes on the role of cantor in this flamenco style version of the song .....

Name The Tune

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The answer is HERE

The Story Is Told
Did The Earth Move Billie?

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​"I had just started doing Strange Fruit then; the record was selling and I always got a request for it in about every show. I remember the night this white boy stayed around just to bug me. When I started singing it, he'd start kicking up a storm of noise, rattling glasses, calling me n****r .... After two shows of this I was ready to quit ..."

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"It was then that Bob Hope came in. He came over to me, God bless him, with Jerry Colonna and Judy Garland and I'll never forget it. "Listen," said Hope, "you go out there and sing. Let that sonofabitch say something and I'll take care of him." So I did and he did. It was a real mess. When the cracker boy started, I stopped singing and Bob took the floor. Hope traded insults with that cracker for five minutes before he had enough and left. After Hope finished with him, I went back singing."

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"When I did my last encore the joint was still ringing with applause and Bob Hope was waiting for me in the dining room with a big bucket of champagne. I hate champagne, but I drank it that night. After a couple of swigs I looked around and the mirrors in the joint were shaking and the chandeliers were swinging. "Man, this is powerful stuff," I said. ... "Look Bob," I said. "I don't usually drink this stuff, but this champagne is crazy."

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"Look, girl," he said, "don't you know we just now had one of the worst earthquakes anybody ever had around here? ..."

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(From Lady Sings The Blues by Billie Holiday with William Dufty)

Tea Break

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A series where musicians and others stop by for an imaginary Tea Break to talk about their music and projects. 

Richard Cluley

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I arrived at Café Le Rêve at about 9.30 am to meet bandleader Richard Cluley at 10.00 am. Arthur was in his usual seat by the window, but there was no sign of his equally scruffy dog, Alfie. Instead, he was chatting to Jean, another 'regular' and quite the opposite to Arthur. She is petite, always well-dressed and not a grey hair out of place. Jean is a retired actress with a charming smile and blue eyes that must have made the difference in countless auditions. Apparently, she spent many years in America and has stories to tell of the famous people she met or worked with. She has promised to publish her memoirs and 'name names', but they never seem to get written. Perhaps that's just as well.

 

“Good morning, Arthur. Good morning, Jean. Where is Alfie today?” 

 

“Good morning, Ian. Alfie is not to good at the moment. He doesn't want to get around much any more - holding back the years, I guess, like most of us. Who are you meeting today?"  

 

"Richard Cluley, a bandleader from Cheshire," I replied.

 

"I could tell you a few stories about bandleaders!", said Jean. "I knew someone who knew Artie Shaw in his early days, I think he started playing professionally when he was in his late teens. Anyway, he was broke and wandered into clip joints in Greenwich Village and got to know the girls who worked there, fleecing the customers for expensive drinks and such. They took pity on Artie and would buy him drinks! He must have had a way with women because in the end he was married eight times! and his wives included Lana Turner and Ava Gardner, they also say he dated Betty Grable, Judy Garland and Lena Horne - you wonder where he found time to be a bandleader!

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Richard Cluley arrived as Jean finished her story. I introduced them and Natalie, the French waitress, rescued us and took us to my usual reserved booth at the back of the café.

Good morning, Richard, what can I get you – tea, coffee?

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Good morning Ian, thank you – a black coffee will be fine, please

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I seem to remember that your big band’s Left Bank group were playing for a Cream Tea at your local church event and you were playing vibes. How did it go and did you all get a free cream tea?

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We did thank you – home-made scones, cream and homemade jam - various types to choose from. They provoked the inevitable debate over cream or jam first! The music was very well received. The Church yard where we were playing is adjacent to the village pub, the Badger, and I heard a few days after the event that the patrons of the pub enjoyed the music too. On this occasion our line-up was supplemented by a violin, so alto sax, two guitars, violin, bass and vibes, which provided some additional texture to the sound.

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I think your own main instrument is the French horn, Richard, – more Dennis Brain than John Coltrane! It seems strange that you started up a swing big band. How did that come about and how long has it been going?

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Yes, you're right, I first learned the French Horn in Leicestershire in the ‘60s and I was fortunate to play and record with the Leicestershire Schools Symphony Orchestra. I had a gap from playing the French Horn - but not from music - for many years but went back to playing the Horn after my wife, Margaret, sadly passed away. Returning to the horn led to me playing in 3 different Concert Bands and several orchestras plus a wind quintet ..... and then COVID struck putting all these activities on hold. So I tracked down some free software, Jamulus, that enables musicians to play together over the internet with a noticeable but manageable delay. Swing music proved to be the easiest to play over the internet in those circumstances. It was at least a way of playing together and have a distanced social gathering. Eventually we were able to gather in the garden, six at a time, do you remember the rules?. Anyway, the gazebos and my car port were pressed into service. We had some very strange Sextet mixes but everyone enjoyed the opportunity to play together again.

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On one occasion one of our players remarked “This is the sort of ensemble you’d get if the Vicar of Dibley asked for a Swing Band”. The seed was sown! So as soon as gathering in larger numbers was permitted I hired the village hall and arranged the first rehearsal. The instrument mix was a little unusual - (we had a euphonium and a bassoon!, but it was received very well and has grown and developed from there.

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You have come a long way since then! I have a video on my laptop of the band playing I've Got You Under My Skin from earlier this year - let's take a look ...

Has recruiting band members been a challenge over time? Do you audition people and look for a specific standard in their instrument?

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Initially recruiting was just by word of mouth and was reasonably easy, partly because we had no idea where it was all going, apart from being a fun thing to do. Sourcing arrangements, and tweaking them for the ever changing line-up was the biggest job. Later on, when the decision was made to develop a more or less orthodox Big Band, recruitment of brass was, and still is, the main issue. Cheshire has a strong and active Brass Band community and there are a number of Concert Bands in the area too which means that the good players are always in demand. We don’t audition players per se, though after a couple of rehearsals with the band I canvas the opinion of the other members of the section. Being a team player is crucial. A number of players initially aspiring to be part of the band have decided that our repertoire is too hard for them and decide to leave, so I suppose there is an element of self-selection. I might be partly to blame for some of the leavers, as I gather that I am seen as quite tolerant of folk if they have a go and mess it up but equally intolerant of folk occupying a seat and then not trying to play what is in front of them.

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I guess one of the benefits of a big band is that members can learn and develop their skills from others in the band, do you find that to be the case?

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Oh that is definitely true. One of our senior players is Brian Chell who has an active solo career at local pubs and in regional festivals. He often helps other payers with their improvisational skills. All of the experienced players are generous with their advice and encouragement which is a great help to me. We occasionally have some small group sessions to concentrate on developing improvisation, though it is clear that some of the players appreciate the skill and techniques required but have no ambition to develop them.

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You clearly have musicians who can carry solos – there is this video on the band’s website with a saxophonist soloing on Tequila. 

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That would be Phil Haywood, another of our more experienced players.

The Bass Trombone In Jazz
In Conversation with Sam Freeman

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It is thought that the bass trombone first came into any significant position in a big band when Stan Kenton hired Bart Varsalona. Bart came into the band as a tenor trombone player but in an article in the International Trombone Association’s Journal, The Trombones In The Orchestras Of Stan Kenton, Paul Bauer says that apparently Bart was on tour with the band in San Francisco when he saw a bass trombone in a shop window. ‘I had an idea,’ Bart said. ‘The band was playing a lot of heavy bottom. I went in and tried it out. It felt pretty comfortable and the price was right. I picked it up, and brought it in on the job that night. [Kenton] saw the difference immediately. He said: “Great, keep it”’. So it is possible that the bass trombone was first used in a big band, Kenton’s, in 1943.

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Here is a ‘Soundie’ of the Kenton Orchestra circa 1945 playing Southern Scandal with the double bass, baritone sax and bass trombone (probably Bart Varsalona) lined up one behind the other.

Varsalona worked with Stan Kenton for eight years. After he left, his place was eventually taken by George Roberts who had been playing tenor trombone in Gene Krupa’s band. George Roberts is still looked on as one of the masters of the instrument. In Elicia Hill’s article in the ITA Journal, Roberts began exploring the role of the bass trombone, thinking: ‘Nobody has ever played a solo on bass trombone, and I could really take advantage of my [lower register]. It [will] be harder because of the pacing against the tenor, and there are more restrictions. Bass trombone is like playing an open inner tube. I’ll have to pace myself differently. I’ll go more for sound. Maybe I could play songs like Urbie [Green] only an octave lower’. (George Roberts died in California in 2014 at the age of 86).

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Bass trombone player Sam Freeman remembers hearing the 1959 album that perhaps most highlights George Roberts’ instrument, Meet Mr Roberts. Listen to My Romance from the album.

Sam plays bass trombone, contrabass trombone and sackbutt. Much of his work is with classical orchestras, but he also plays with Jazz, Chamber and Theatre bands, the list is formidable, look here – but when we first talked he was also regularly playing bass trombone in the London City Big Band. Sadly that band now only plays occasionally as musicians have moved on to other projects. Sam and his older brother, Dougie (an excellent jazz pianist), grew up in Nottinghamshire. Their father was a piano teacher, taking students for classical music lessons but with a love for Boogie Woogie.

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"There was plenty of music around at home,’ says Sam. ‘Mum sang, but not professionally, and Dougie started to play the piano early. The changes came when we moved to join the Southwell Minster choir. I think it was there that I first became really aware of harmony. The choir members were offered the opportunity of free instrument lessons and I chose the trombone. We were both very lucky that our state secondary school was very encouraging of music. There were lots of opportunities around and as a by-product of the Minster choir, there were a lot of good young musicians. In time we began playing with local bands and orchestras; Dougie and I formed a rock band playing all genres, including Ska, and when I was around fourteen or fifteen I played my first paid gig with the Henley Farrell Big Band (now the Tony Farrell Big Band). Dance nights were very popular there in the 2000s. I also played in a Nottingham youth big band called ‘The Brassery’ with which we toured to the Edinburgh Festival Fringe. I joined the county wind bands, orchestras, Nottingham Youth Orchestra, and extended my big band playing to depping in the Stapleford Big Band and occasionally Nottingham Jazz Orchestra."

 

As well as playing in the Nottingham Youth Orchestra, Sam continued to sing in the choir as a bass once his voice had broken. He believes that his choir work influenced his decision to get a bass trombone. "It is something about the depth of sound," he says. "The bass sound is very important, it fills out the music, it tunes in to feeling different colours. In a classical orchestra the bass trombone and tuba are akin to singing bass in a choir."

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Here is a video of Sam playing a solo cover of Jon Hopkins' The Wider Sun in 2019.

The Jazz Quiz

First Born

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For our quiz this month we challenge you with fifteen questions concerning jazz Mothers and Fathers, Mamas and Papas. How many can you work out?

The October Jazz Quiz is​

HERE

Time Out Ten
Let's Cool One
Thelonious Monk

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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.

'Let's Cool One' is a tune written by pianist Thelonious Monk in 1952.  It was a catchphrase of Harlem disc jockey Ralph Cooper and that, or 'Let's Cool One Down', became a popular 1950s saying for playing a more relaxed tune - so, very appropriate for our Time Out Ten.  Monk's recording originally came on the Blue Note album The Genius of Modern Music Vol. 2. The version we are sharing here is the Rudy Van Gelder remastered track. The personnel: Thelonious Monk (piano); Kenny Dorham (trumpet); Lou Donaldson (alto sax); Lucky Thompson (tenor sax); Nelson Boyd (bass) and Max Roach (drums).

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So, let's cool one ...

Tracks Unwrapped
Exploring the stories behind the music
Flight Of The Foo Birds

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Trumpeter, composer and arranger Neal Hefti wrote Flight Of The Foo Birds in the late 1950s apparently for a Count Basie band recording for Stars for Defense , a series of radio transcriptions recorded for the United States Federal Civil Defense Administration from 1956 to 1967. Commercial radio stations were instructed to broadcast the content of those transcriptions at certain specified times assigned by the Civil Defense Administration to help Americans prepare for possible disasters, like a nuclear attack (details here).

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The tune was released on The Atomic Mr Basie album, recorded in 1957 and released in 1958. The album was originally called Basie, and subtitled E=MC²=Count Basie Orchestra+Neal Hefti Arrangements. (E=MC² is a scientific formula about energy and mass, e.g.: The Sun, which generates its energy by converting mass directly into light and heat through nuclear fusion). The album was reissued in 1994 as The Complete Atomic Basie. 

 

Flight Of The Foo Birds is also a contrafact (based on) the song Give Me The Simple Life.

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The tune features solos by Frank Wess (alto sax); Thad Jones (trumpet) and Eddie 'Lockjaw' Davis (tenor sax). 

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Here is the recording:

The Basie band was filmed  playing the tune at a very fast pace in 1965 for a BBC Four television programme. It must have been a challenge for the musicians named with the video.

So what about the name of the tune? What is a 'Foo bird'? As far as I know, we have no references direct from Hefti or Basie, and we cannot ask them now. Perhaps they did tell someone and the true idea could emerge at some time. There is no bird called a Foo bird. The generally suggested reference is to an old story which has been told in various forms, and I like to think the title was either the origin of the tune, or appeared after the tune. The story goes back many years and so it could be the origin. 

A man went to Africa to do some game hunting. While there, he hired a young native to accompany him as his guide. Soon, a large flock of birds flew overhead and the hunter took aim. The guide grabbed his arm and said “Oh, no! Those are foo birds and to shoot one means terrible things will happen to you!” The man decided that this was just a superstition, ignored the warning, and shot one down. A moment or two later, the rest of the flock returned and pooped all over him. He yelled at the guide: “Please get me some water to wash this mess off”. The boy said “Oh no! To wash the crap of the foo bird off means sudden death immediately!” Again the hunter ignored the warning, found water and got cleaned off. Sure enough he dropped dead then and there. The moral of this story is “If the foo shits, wear it. ”

This play on the saying "If the shoe fits wear it" applies nicely to the tune where whichever musician is called to play a solo has to 'wear it' - a bit like as in the tune Every Bottom (every tub has its own bottom).

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This is all well and good but the word 'Foo' was being used earlier. In the early 1930s, cartoonist Bill Holman used 'Foo' in his Smokey Stover (The Foo Fighter) cartoon strips which were run daily in the Chicago Tribune. Smokey Stover's catch phrase was "where there's foo, there's fire". Smokey wears bright red (or yellow) rubber boots and a clownish striped "helmet" (always worn back-to-front), which he sometimes ties to his nose with string, in lieu of a chinstrap. His trademark helmet also features a prominent hole in its hinged brim, which he occasionally uses as an ashtray for his lit cigar.​

Although most of the sequences in the strip (and the occasional comic book) centre on Smokey's escapades with the Chief, the loose "plots" and situations are mainly a framework to display an endless parade of off-the-wall verbal and visual humor. Smokey rides ‘an impossible two-wheeled “Foomobile” (a single-axle fire engine which resembles a modern Segway with seats, or an independent sidecar). 

 

A novelty song based on Smokey Stover - 'What This Country Needs Is Foo', with words and "FOOsic" by Mack Kay, was recorded by Eddie DeLange and His Orchestra on Bluebird Records in 1939. Holman illustrated the cover for the sheet music .......

Jazz Played Here

1984 Jazz Club
Tbilisi, Georgia

by Peter Maguire*

1984 Jazz Club Tibilisi.jpg

The 1984 Jazz Club is an intimate live-jazz venue in central Tbilisi, the capital of Georgia. It is a converted Soviet-era apartment with high ceilings, warm/dim lighting, and an intimate club setting. It is known for its underground, atmospheric feel and regular live performances. Jazz is the focus, with rotating local and international musicians, plus occasional tribute concerts and jam sessions. Recent listings have included Herbie Hancock, Chick Corea, and various Georgian jazz ensembles.

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Current listings show evening opening, generally around 20:00, with closing between 01:00 and 02:00 depending on the day. It's geared more toward listening to live music in an intimate club environment than a conventional restaurant or large concert venue.

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Food and drinks: Cocktails and food are available; visitor reports particularly mention the cocktails!

The club can be found at 37 Shota Rustaveli Ave, Tbilisi 0103, Georgia
Phone: +995 558 28 81 93

and its Facebook page is here.

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Here is a video introduction to the club:​

*Trombonist Peter Maguire is based in Belgium and is the creator of the Jazz Clubs Worldwide website, a valuable database if you are looking for jazz clubs elsewhere. Peter will be telling us of other clubs in future issues.

Forum

Old Website Articles

Paul Hansard wrote: "Google AI says that there is a reference on your website discussing the song Flight Of The Foo Birds.  I was unable to access it at sandybrownjazz.co.uk and I could not find it at sandybrownjazz.com either. Would you be so kind as to direct me to the location, or email the content?"

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[I explained to Paul that the old sandybrownjazz.co.uk site has been taken down as so much was out of date. I am gradually updating many original articles and Flight Of The Foo Birds is updated in What's New this month - Ed]

Foo bird.jpg

Denis Patrickson - Beyond Silence

Denis Patrickson A Dawns Tale.jpg

London-based saxophonist, pianist and composer Denis Patrickson has written telling us about his rather different 'Beyond Silence' project: "in Beyond Silence I play saxophone and piano at the same time, as one player on both instruments, with nothing edited together. I built the grand piano case myself from plywood in my home workshop so the piano can go where an acoustic grand can't. I also built a motorhome with a piano fitted inside, and I wrote an album on the road across Europe.  My new single, "The Dawn's Tale" (listen here) is out on 19 September. It's an original piece in which saxophone and piano are woven into one voice, and I composed and perform it myself. On Wednesday 21 October (19:00) I'm giving a solo Beyond Silence concert at PIANO Smithfield, 14 Long Lane, London EC1A 9PN (Farringdon/Barbican)."

 

Riverside Jazz Band, Cambridge

Adam Wiseman asks: "I'm looking for any old photos from 1982 in relation to the Riverside Jazz Band in Cambridge, as my late grandad Peter Watkins played trombone with them and also recorded with them on the 1982 record In At The Deep End. The only photo I have found, came with a signed vinyl of the album and I have struggled to find anything online. If you are able to help, that would be amazing but no worries if not. Many thanks.' 
 

[Can anyone help Adam with his search? - Ed]

 

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.​  

Cassandra Wilson
Cassandra Wilson.jpg

American vocalist born in Jackson, Mississippi in 1955. Influenced by Miles Davis, she won numerous awards, including two Grammys and was named "America's Best Singer" by Time magazine in 2001. The Black Arts Music Society provided her with her first opportunities to perform bebop and in 2007, she received an honorary doctorate in Arts from Millsaps College. She became one of the founding members of the M-Base collective that re-imagined the grooves of funk and soul within the context of traditional and avant-garde jazz.  Cassandra passed through the Departure Lounge on 1st September 2026.  Obituaries: Wikipedia : The Guardian : New York Times : A video of Cassandra singing Time After Time in 2006 is here.

Oliver Jones
Oliver Jones.jpg

Canadian pianist born in Montreal Quebec in 1934. He started his early touring with a band called Bandwagon, and in 1953–63 played mainly in the Montreal area, with tours in Quebec. In late 1980, he teamed up with Montreal's Charlie Biddle working in and around local clubs and hotel lounges in Montreal and he was resident pianist at Charlie Biddle's jazz club, "Biddles", from 1981 to 1986. His first album, Live at Biddles recorded in 1983, was the first record on the Justin Time record label. By the mid-1980s, he was travelling throughout Canada and Europe, appearing at festivals, concerts and clubs, either as a solo artist or with a trio. Oliver passed through the Departure Lounge on Obituaries: Wikipedia : CBC :  New York Times : A video of Oliver Jones and Oscar Peterson playing Just Friends is here.

Gene Bertoncini
Gene Bertoncini.jpg

American guitarist born in New York City in 1937 and was notable for using a nylon-string guitar in performances and recordings. He worked with many musicians including Carmen McRae, Paul Desmond, Benny Goodman, Clark Terry, Wayne Shorter, Tony Bennett and others. Gene passed through the Departure Lounge on 29th August 2026.  Obituaries: Wikipedia : Downbeat : New York Times : A video of Gene playing Eleanor Rigby is here.

Patrick Gleeson
Patrick Gleeson.jpg

American synthesizer pioneer born in Seattle, Washington in 1934. As well as recording solo albums he worked with Herbie Hancock on two albums - Herbie credited Patrick with introducing him to synthesizers and teaching him technique. As well as Hancock, Gleeson worked with many other Jazz musicians, including Freddie Hubbard Eddie Henderson and Joe Henderson. Patrick Gleeson passed through the Departure Lounge on 29th July 2026.  Obituaries: Wikipedia : Mixmag : New York Times : A video memorial to Patrick Gleeson is here.

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:

 

  • I receive so many requests to review recordings it is impossible to include them all.

  • Unlike some publications/blogs, Sandy Brown Jazz is not a funded website and it is not possible to pay reviewers.

  • Reviews tend to be personal opinions, something a reviewer likes might not suit you, or vice versa.

  • 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 our Recent Releases page HERE where you can scroll down and see our featured releases, or click on the titles below for details of a particular album Included this month:

UK

America

Europe and Elsewhere

Reissues

© Sandy Brown Jazz

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