Another 100 Years Of Jazz: Life, The Saxophone & Everything

Mad, Trad & Dangerous To Blow

On Sunday 24^th September The Jazz Repertory Company is presenting “Another 100 Years of Jazz” at London’s Cadogan Hall.  After 6 years of performing “A 100 Years of Jazz in 99 Minutes” we thought it was time to put together a follow up so last year we premiered the new show at the Buxton Festival and after a few more performances and a few tweaks we’re bringing it to London for the first time.

 Another 100 Years Of Jazz 

Cadogan Hall 24th September 2016

As with the first show it was fun putting the running order together.  The earlier jazz content is somewhat easier to choose as there are universally recognised great historic recordings of huge importance in jazz history to pick from.  The most modern selections are much more challenging as the music has diversified so much – there is a huge amount going on, from music rooted firmly in the jazz tradition to music which some would contend isn’t really jazz at all.

High Society Rag - King Oliver Version 1923

So in the weeks leading up to the concert I thought we’d take a look at some of the music that did get chosen – starting with the 1901 composition “High Society” which opens the show.

Marching through the audience is always a good way to grab their attention, having a sousaphone creep up behind you is the musical equivalent of being surprised by a rhino in the Serengeti.  In the  original 100 Years show we kick off with Justa Closer Walk with Thee and then segue into When The Saints Go Marching In.  This recreates the old New Orleans tradition of the funeral bands when the procession to the cemetery would be accompanied by sombre and religious tunes but then on the way back the music would be upbeat and celebratory.  

A great deal of music making in New Orleans was al fresco and a tune like High Society would have been ubiquitous with the many marching bands working the city.  I’ve always found it fascinating how different the British jazz bands sound to their New Orleans counterparts when playing this music and I’ve a meteorological explanation for it.  Most of the time in England if you have an outdoor gig you make sure you’re wearing your thermal underwear, pack your waterproofs and expect to be numb by the time the gig is over.  To compensate you play a little faster, a lot livelier and somewhat louder just in an attempt to keep the blood circulating.   In New Orleans it’s the complete opposite – it’s so humid most of the time just putting one foot in front of the other can make you break into a sweat.  As a result of this New Orleans musicians have mastered the art of being laid back and generating excitement with the least possible effort.  I’m sure that’s why the New Orleans sound is unique and so hugely appealing.  

Another 100 Years Of Jazz 

Cadogan Hall 24th September 2016

"High Society" was written by Porter Steele and has become a traditional jazz standard.  The New Orleans clarinettist Alphonse Picou adapted the piccolo obligato from its military band orchestration and this virtuosic jaunty counter melody has become an essential part of any performance of the piece.  It’s considered by some to be the first ever jazz solo – whether it was or not,  the first couple of bars proved very popular with Charlie Parker who frequently quoted in many of his solos (more about him another time).

Nick Dawson

In true 100 Years of Jazz fashion the virtuosic clarinet is left in the capable hands of our pianist Nick Dawson, who also happens, conveniently, to play a mean clarinet.

The Jazz Repertory Company Showreel

Something to make a noise about.

"Wearing his erudition lightly this is a man who should be touring every jazz conservatoire in the land."

Swanage Jazz Festival Round-Up Review:

Brian Blain, London Jazz News

Keith Nichols' Blue Devils 

Duke Ellington's Bugle Call Rag, London's Cadogan Hall 

Always one of the treats for me when he is booked for the Festival is Keith Nichols' Blue Devils Orchestra, this year presenting early Fletcher Henderson arrangements as well as creaky novelty numbers such as Skeleton in the Closet, an old Armstrong number from an early Bing Crosby film. Keith always has some historical gem up his sleeve and in introducing this old piece he pointed out that the song was banned by the BBC until the title substituted the word Cupboard.

Wearing his erudition lightly this is a man who should be touring every jazz conservatoire in the land. Can't leave this area without reference to the amazing blend of statuesque presence and animated projection that is the band's singer Joan Viskant . Why she is not more of a presence on the scene in general I simply do not understand.

The Jazz Repertory Company Concert Showreel

Something to make a noise about.