The Jazz Repertory Company Blog

The Jazz Repertory Company Blog
The Jazz Repertory Company Blog

Wednesday 22 April 2015

Jeremy Sassoon On His Relationship With Ray Charles, The Jaelettes & Loving The Jealous Kind

On Saturday 9th May at London’s Cadogan Hall Richard Pite’s Jazz Repertory Company will be presenting The Genius of Ray Charles and The High Priestess of Soul, Nina Simone.  The first half features Liz Fletcher and her quartet and for the second half Mancunian Jeremy Sassoon will be bringing his 17 piece Ray Charles Project to London for the first time. 


Jeremy Sassoon

Richard Pite writes  “Back in 2008 I was playing at a very extravagant private party in central London and was relaxing in the dressing room when a band started up playing Hallelujah I Just Love Her So.   It takes a lot to drag me away from free food and drink but I was smitten with this incredible band.  Turned out it was Jeremy Sassoon and a quartet and they just sounded great -  furthermore Jeremy had only just started singing on gigs – though you’d never have guessed it.  I started booking him on a regular basis but wanted to get him to London with his Big Band so that’s what I’ve gone and done.  I asked him a few questions about his career and his upcoming show.”



RP:  Tell me about the Ray Charles Project – how it got started and why your fascination and love of Ray Charles’s music. 

JS:  I had the idea of the Ray Charles Project in 2009 and it debuted at the Manchester Jazz Festival in St Anne’s Square in the pouring rain. We knew it was going to be a hit when 700 people braved the weather and stayed till the end. As well as the jazz enthusiasts, all the passers-by started joining the crowd, captivated by the music. It was a great vibe. As for the music, I always felt a strong affinity with the Ray Charles sound because of his balance between jazz, soul and blues and even country music. It seemed to mirror my own influences very closely so I knew the show would musically excite me. 


Jeremy Sassoon's Ray Charles Project

RP:  You have a great voice for performing the hits of Ray Charles but you only started singing fairly recently – why the long delay?

JS:   Yes, I'd been exclusively a keyboard and trumpet player for many years, and in fact I didn't sing that debut gig in Manchester as  I'd originally designed the show to showcase my longstanding musical partnership with gospel/jazz singer Paul Bentley.  It was only when I later lost Paul's services that I felt the show was too exciting to let go. I decided to take a deep breath, give singing my best shot and was delighted when it seemed to really click. 


9th May, Cadogan Hall, A Celebration Of Ray Charles & Nina Simone

RP:  For the Cadogan Hall show did you just choose your favourites from the Ray repertoire or did you want to balance the big hits with more obscure and unknown material?  

JS:   I've always wanted this show to represent my own journey through the Ray Charles repertoire.  No matter how long or short the set, I make sure there are a couple of unknown tunes that I'd no sooner take off the set list than Georgia On My Mind or I’ve Got a Woman. The mix works well and makes it unique. I remember a few years back (and with some trepidation) going to another Jazz singer's Ray Charles tribute to find we only shared one song in common, which is a wonderful tip of the hat to the breadth of Ray's repertoire.


Ray Charles - Georgia On My Mind


RP:  Tell me about some of your sidemen – you’ve got some stars of the Manchester jazz scene in your ranks I believe. 

JS:  Yes, the show’s musical director is Iain Dixon (BBC Big Band, Michael Brecker, Bryan Ferry) whose arranging skills are fundamental to the success of the show and we’ll have the great John Parricelli on guitar as well as some fine London players such as the tenor sax master Robert Fowler


RP:   Had you always had that blues/gospel piano style or did you have to adapt your way of playing when you started on the Ray repertoire?

JS:   It was a perfect blend for me from the start. I love blues and gospel. It must be my Jewish roots. 


Jeremy Sassoon and The Jaelettes


RP:  Tell us about your backing singers  - Ray had the Raelettes – what do you call yours? 

JS:    I'd say our Jaelettes are more than a match for Ray's Raelettes. On this gig, the mighty Annabel Williams joins forces with the incredible Sharlene Hector and Hayley Sanderson. You must check these ladies out.  


Hayley Sanderson - Strictly Come Dancing Live Tour


RP:  Have you got an all-time Ray favourite?   

JS:   The Jealous Kind was a relatively unknown tune with a compelling Rhodes-based-groove, borne out of the 1970's. The album, True to Life was discontinued so I'd refer you to my own to get a taster. This tune will definitely be on the gig - watch out for an epic guitar feature. 


Jeremy Sassoon - The Jealous Kind

RP:  Your previous career was as a psychiatrist.  Does that help your band leading skills? 

JS:    I'm not entirely sure, but now you mention it, it does give an entirely different meaning to the phrase rhythm section. 


Ray Charles


The Genius of Ray Charles and The High Priestess of Soul, Nina Simone  is at 7.30 on Saturday May 9th at Cadogan Hall, Sloane Terrace London SW1 (just one minute’s walk from Sloane Square tube station).  Ticket prices start at £16 – www.cadoganhall.com  Box Office:  020 7730 4500.


The Jazz Repertory Company Concert Showreel

Tuesday 21 April 2015

On Stage With Nina Simone & Matching Her Wiggle For Wiggle

On Saturday 9th May The Jazz Repertory Company present their fifteenth concert at Chelsea’s Cadogan Hall. Up till now their programmes have concentrated on the jazz of the 20’s through to the 50’s but this time around they’ve moved their focus to the jazz, blues and soul of Ray Charles and Nina Simone.  


Nina Simone, High Priestess Of Soul

Jeremy Sassoon will be bringing his 17 piece Ray Charles Project to London for the first time and Liz Fletcher will be presenting a set of songs closely associated with Nina, including the big hits Feelin’ Good and I Love You Porgy alongside less well known gems such as Wild Is The Wind and Work Song.  Here she’s interviewed by Jazz Repertory Company director Richard Pite.


RP: You’ve had a long career as a highly respected jazz singer but this is the first time you’ve ever performed a tribute to another singer – was it  very different to what you were used to doing?

LF:   I suppose I’m paying tribute to many singers when performing from the Great American Song Book.  Their influences are probably subliminally interwoven without me even realising it.  I’ve been reviewed as sounding like Julie London, Peggy Lee, Doris Day and Ella Fitzgerald which is hardly surprising as I’ve listened so much to these ladies.  But doing a whole show, dedicated to one singer feels different.  Nina had a hugely powerful voice and personality – quite a challenge for an English blonde with a lighter timbre.  I feel I have to be respectful to the original content and yet maintain my own identity.  Nina’s musical arrangements are intrinsic to the way the songs are sung and apart from her amazing voice, why they are so recognisable. This is why I decided to stay close to the original source.



Liz Fletcher

RP:  I believe you did a gig once where you were surprised to find you were the support act for Nina.  She was quite a tough cookie wasn’t she?  What was the experience like?

LF:  Yes, it was bonkers!  In 1999, I was on tour with the world music band ‘LoopGuru’ and we were doing a big open air festival in Theselonika, Greece .  At the sound check there was a sudden panic by the crew when a big limousine pulled up by the stage.  A red carpet was quickly unravelled to greet Nina who rather unsteadily made it up the steps and into her own private loo which was in the wings.  We did our set and then Nina came on but she was in a very grumpy mood and shouted at everyone.  I suppose at that time of life, she had a right but it did shatter my illusion and I was way too scared of her to ask for an autograph! Still, to be in such close proximity to and, sharing the stage with, such a great lady was a gift I’m very grateful for. 




Nina Simone - Wild Is The Rose


RP:   I can’t think of anyone who sounds quite like Nina but you capture her style in your own unique way.  How did you approach her songs?  

LF:  Thanks.  I suppose it’s about listening lots and practice.  A bit like when an instrumentalist learns a famous solo note for note, bend for bend, wiggle for wiggle, if you know what I mean?  I could never sound like her all the time but I hope there are a few reminders.



Liz Fletcher

RP:   Tell us a little about the band you’ll be using.  

LF:  What a talented bunch - Christian Vaughan is my musical director and pianist and he’s transcribed Nina’s arrangements and plays them brilliantly.  Julie Walkington is one of London’s top bassists and it’s lovely to have another female on board, she’s a rare breed.  We’re lucky to have Nigel Price on guitar, he’s very busy and prolific with his own projects.  (With Richard Pite on drums).


RP:  Is there a particular favourite amongst the songs you’ll be singing?  

LF:  I adore ‘Wild is the Wind’- a beautiful ballad.  After I fell in love with this song, I learned that David Bowie had seen Nina perform it and promptly learnt it and recorded the song on his album ‘Station to Station’, so I’m in good company!  I also like singing ‘Work Song’ and ‘Love Me or Leave Me’  - they really swing - ‘House of the Rising Sun’ too.  



Nina Simone - Love Me Or Leave Me

RP:  Outside of your Nina show what else is happening with you and music right now?  

LF:  I’m doing lots of gigs with a super band called Jiving Miss Daisy run by the bassist Simon Thorpe.  I’m headlining the Ealing Jazz Festival and playing at the ‘Give’ Festival with my experimental band doing dance music.  And as you know, I’m a jobbing jazzer Richard doing whatever work comes in – as long as  the phone keeps ringing, I keep singing.  Oh yes, and I’ll be working on my next album to be released on my own label ‘Audioloob’ later in the year.




The Genius of Ray Charles and The High Priestess of Soul, Nina Simone  is at 7.30 on Saturday May 9th at Cadogan Hall, Sloane Terrace London SW1 (just one minute’s walk from Sloane Square tube station). Ticket prices start at £16 – www.cadoganhall.com  Box Office:  020 7730 4500.



The Jazz Repertory Company Concert Showreel

Friday 3 April 2015

There's A Trick To Pickin' A Chick, Chick, Chicken - And Other Easter Tales

There’s precious few Easter songs and perhaps the most famous of all is Irving Berlin’s Easter Parade:


Irving Berlin's Easter Parade 

One of our musician pals told me a funny story a while back.  At one point in his career he was hugely popular on the Jewish function scene.  One time he got an odd request to finish the dancing with an Easter song.  Well of course he chose Irving’s ditty and duly played it as the last dance.  The bride approached with a look of horror on her face and asked him what on earth he was doing.  “Well, I’m playing your request”.  Her reply was “Are you mad?”.  

When he got back home and checked her email it turned out she’d asked for a Faster song to finish the dancing.   Whooops!



So to celebrate Spring, bunnies, chocolate and being bloody freezing we’ve got a Faster Easter song for you - here’s the Rio Trio with a 1920’s pop song called “There’s a trick in pickin’ a chick – chick – chicken.  It’s choc-full of comic chicken effects played by my near-namesake Richard White on various clarinets and saxophones.  Click here for the free MP3 download.

Have a happy and slow Easter.


The Jazz Repertory Company Showreel 


Wednesday 1 April 2015

Dick Laurie on JRC: "Go and hear it the next chance you get, whatever age you are. Its memory will add joyous years to your life."

CARNEGIE HALL AND NEWPORT COME TO THE CADOGAN HALL
COURTESY OF THE  JAZZ REPERTORY COMPANY (and the London Jazz Festival)

Benny Goodman and Glenn Miller at Carnegie Hall 1939

Arriving at this mid-November concert a few minutes late and without seeing the programme, I was bewildered to see and hear a trio of clarinet (Pete Long), violin (Charles Mutter) and pianist Bunny Thompson playing the first movement of Verbunkos - Recruiting Dance from Contrasts by Bela Bartok.   Typical of Benny Goodman to have started his 1939 Carnegie Hall Concert with an ear-stretcher like this to offset the music which was to follow.

Three things stand out in this wonderful series of recreations by Richard Pite’s Jazz Repertory Company. The chutzpah of the promoters/producers. The complexity of the original arrangements. And the affection and enthusiasm with which those arrangements are played. Also one should mention that these concerts are never less than pretty full, even if they aren’t all sold out, a tribute to the way in which they are programmed, the sheer strength of the mailing list and its marketing, and the loyalty with which that mailing list responds. OK, so most of the audience is the north side of 60, but then so is the music. They know what to expect and they get it, even to the unamplified sections, as in the original performances.
                         

Benny Goodman and Glenn Miller at Carnegie Hall 1939
The Radlett Centre



The first concert gave us Benny Goodman and Glenn Miller at Carnegie Hall in 1939. Part One included the Bartok and then, skilfully linked by Musical Director and MC Pete Long, whose style is informative and humorous (he even had the old dears, of whom I am one, doing a version of the Twist at one stage) with the full BG Orchestra storming happily through an 8-number programme from “Don’t Be That Way” via “Bach Goes to Town” to “Sing, Sing,Sing”, before bringing on Rico Tomasso to present his impressive Louis Armstrong 1939 concert , cornet and voice included.


Benny Goodman and Glenn Miller at Carnegie Hall 1939
The Jazz Repertory Company

Part Two opened with tributes to the Kansas City Six and the Benny Goodman Sextet, which featured Mr Long as BG. His assurance and technique are astounding and his tone and jazz feel fit the idiosyncrasies of his subject perfectly. Good to hear vibraphone player Anthony Kerr again, now playing even more phenomenally, which is saying something.


As mentioned, it was interesting and instructive to hear the Miller tunes in close-up, so to speak, rather than on the Dansette.  The arrangements are a deal more profound and elegant than remembered when first heard seventy years ago, and don’t deserve the derision with which they are sometimes held by some jazzers.

Question. How do the organisers of such concerts manage to get all these terrific musicians together for performances, let alone gather them up for rehearsals? It’s a miracle!



(Thoughts stimulated by this concert which included music from the film “Jazz on a Summer’s Day”, the concert “Ellington at Newport 1956” and music from the film “High Society”.)


The Newport Jazz Festival - The 1950s
The Jazz Repertory Company - EFG London Jazz Festival

Yes, it’s a miracle, but what’s the point? (See the previous review, above.)

People who come to these re-creations for the first time know what they’re expecting, either from the reviews, the advertising or from word of mouth. They’re hoping to hear as near accurate presentations of the original recordings, some of which they know, some of which they’ve heard about, as is decently and musically possible.

Those who have been before know what to expect. Facsimiles of the original recordings, apart from the solos, but with the added frisson of hearing the best jazz musicians from this country and abroad taking on the challenge of playing like a Hodges or a Krupa or a Goodman. There will be “anoraks” amongst this part of the audience, but mostly kindly-wishing “anoraks” - generally the atmosphere  was buzzing and laudatory at the end of each concert. Mission accomplished?


Up Lazy River, The Newport Jazz Festival - The 1950s
The Jazz Repertory Company - EFG London Jazz Festival

The audiences of the Jazz Repertory Company do not differ greatly from the audiences of classical music and indeed in their response to what’s on offer. The latter, too, know what to expect, have heard it before, probably on record and are generally as well informed as the former. So what’s the point of coming to hear exactly what they expect? In both cases it’s the pleasure of hearing superb musicians giving immaculate performances of music which they love.

But there are one or two major differences. In the case of the Jazz Repertory Company’s bands, they are brought together for a few performances and are then individually scattered to the winds to play wherever inducement takes them - their audiences are loyal to the idea, not the bands. While the originators of the music belonged to bands which had probably been playing the same or a similar repertoire for weeks or even months, had fanatical partisans and were well bedded in.


The Jazz Repertory Company - on stage at London's Cadogan Hall

Classical orchestras don’t play the same repertoire night after night, but they too stick together for sometimes years with a conductor who gives them a recognisable sound. Their audiences, or a large part of them, are loyal to an orchestra and its conductor as well as to the music.

While the appeal of both types of music is undeniable, there is one characteristic their audiences don’t share, and that is that the Jazz Repertory Company’s does not replenish itself and inevitably diminishes all the time.

Could it be that which is part of the appeal. “We love the music, we know it pretty well, we think, but we may not get another chance to hear it?”

Go and hear it the next chance you get, whatever age you are. Its memory will add joyous years to your life.  

Dick Laurie.  (Allegedly Hot News International).