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monthly 0.8 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_z1jydf_MARCUS-MILLER3905_-William-Ellis.jpg Marcus Miller ROYAL FESTIVAL HALL: LONDON 2014 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_c7ozys_GPorterv1___w1LP__WEllis.jpg Gregory Porter: Musician DONNY HATHAWAY: LIVE “The ‘Donny Hathaway Live’ album is so special because it captures - with full concentration the thing that’s special in live performance. That communication, that exchange of audience and artist. There’s back and forth conversation, the women and the men in the audience are screaming things back to Donny and Donny’s of course responding musically - and responding incredibly musically. You can feel the emotion in the room as soon as the needle hits the record. That communication - it’s not just jazz, it’s not just soul, it’s human to human. That exchange between humanity is just beautiful to see. It happens on Donny Hathaway LIve.” Gregory Porter: Band on the Wall, Manchester, 13th June 2012 Donny Hathaway: Live - released 1972 Gregory Porter https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_w5esog_KENNY_BURRELL_0LP_w___William_Ellis_cy.jpg Kenny Burrell: Musician DUKE ELLINGTON: THE GREAT PARIS CONCERT Kenny Burrell: Distinguished Professor Of Ethnomusicology, Director of Jazz Studies, UCLA "The record the maestro recorded in Paris in 1963 there are many great things on this recording. It starts off with Rockin'n Rhythm which we all know has gotten it's own wings after Ellington.Written in 1929 - hello! - Zawinul and those guys were do it later. Star Crossed Lovers from the Suite,the Theme from the Asphalt Jungle movie,couple of pieces featuring Cootie Williams, Concerto for Cootie, Tutti For Cootie and The Suite Thursday another suite by Ellington and Strayhorn. One that I particularly like - well I have to say it's one of favourite pieces in all of Ellingtonia - and all music is Tone Parrallel To Harlem known as Harlem Suite. This was commissioned in 1950 by Arturo Toscanini of The NBC Symphony Orchestra of New York. Ellington at that point was pretty popular and also gaining recognition as a serious composer so that's why he got the commission - at the time he was fifty one. That piece has been recorded in many formats including symphony orchestras both here and in Europe and on various occasions by Ellington himself with his band - this happens to be one of my favourite versions of it. First of all I love the composition, I think it's one of the most outstanding musical compositions ever written, certainly (ever written) by Ellington. It's a through composed piece of material - and it is jazz, not a lot of improvisation in this piece because it's through composed. But the main thing about this - it is a great extended composition of jazz music - that only Ellington could do. I would encourage anyone to listen this, it happens to be my favourite version of it - and this a live performance in Paris in 1963. One of the things you should listen to this piece of music is the huge variety of time changes - the huge variety of harmonic changes - the huge variety of tonal colour - of shifting around. It's amazing how he could get such variety with fifteen musicians - it's unbelievable, but he managed to do that and that's why he's considered many the greatest - not only the greatest jazz composer of the twentieth century but the greatest composer of the twentieth century and this is coming from some serious classical musicians who feel that way - let alone jazz musicians who feel that way. The classical people are starting to say this is some new - material done in a highly sophisticated way that has never been done before - so that's why I wanted to talk about this record! It's like all great art - the more you listen, the more you look - the more you hear, the more you see - I never tire of hearing this. Listen closely and something else reveals itself." Kenny Burrell: University of California, Los Angeles, 7th May, 2013 Duke Ellington: The Great Paris Concert released 1973 Kenny Burrell https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_19b5dj_Marcus_Miller_w___William_Ellis.jpg Marcus MIller: Musician MILES DAVIS: MILESTONES “Miles at his height in the 50's before jazz took another turn - this album, along with the other Miles' of this period was really at the height of the elegant era of jazz: Then it went somewhere else that was equally amazing. But I really love how the combination of soulfulness and intelligence that these guys played with - 'Trane and Red Garland, Paul Chambers, Philly Joe, Cannonball and Miles - just an unbelievable group and this record is just - Philly Joe - Paul Chambers - they're just killin’ on this record." Marcus Miller: Band on the Wall, Manchester, November 2011 Miles Davis: Milestones 1958 Marcus Miller https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_twg145_JOE-LOVANOwb_-William-Ellis.jpg Joe Lovano: Musician MILES DAVIS: 'ROUND ABOUT MIDNIGHT “Well, I would have to say Miles Davis ‘Round About Midnight’. I grew up listening to this recording as a kid and the poetic expression - the ensemble playing between John Coltrane and Miles Davis, Red Garland, Paul Chambers and Philly Joe Jones just captured my attention from an early age. And of course their solos within each tune were just so masterful you know. But yet, as a quintet, there was a real ensemble sound that gave me a lot of direction through the years.” Joe Lovano: Birdland, New York City, 21st September 2014 Miles Davis: 'Round About Midnight released 1957 Joe Lovano https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_xbdpt2_PAT_MARTINO_wb__WELLIS.jpg Pat Martino: Musician HILDEGARD VON BINGEN: 900 YEARS BY SEQUENTIA "My favourite recorded series of works - it's an extensive collection of beautiful beautiful music that was written in the 11th century. It was written by a woman by the name of Hildegard Von Bingen and the greatest performance of those particular works is by a vocal group called Sequentia. These are Gregorian chants and it's just some of the most beautiful spiritual music you've ever heard." Pat Martino: Band on the Wall, Manchester, 23rd May 2013 Hildegard Von Bingen Sequentia Pat Martino https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_gpbqu4_SHEILA_JORDAN_wb__William_Ellis.jpg Sheila Jordan: Musician CHARLIE PARKER: NOW'S THE TIME “This is the first jazz recording I ever heard, it’s not even bebop! It’s a rebopper! ‘Charlie Parker’s Reboppers.' There’s a whole story behind this record. Charlie Parker alto, Miles Davis, trumpet, Curley Russell bass and - who’s on piano? Hen Gates that was Dizzy – he couldn’t give his real name – and Max Roach on drums. So it was Curly (Russell), oh my God – can you believe that? So on the other side is "Bille’s Bounce", same personnel. I always sang as a little kid, I never knew what kind of music I wanted to sing and then after I moved back to Detroit to be with my mother and go to high school, there was a jukebox downstairs from my school. I was always playing music there, you know, putting nickels in. So I knew most of the artists and their songs that made them famous – not that I was tired of hearing – but I was looking for something else and I saw this. I saw this and I said ‘Oh – Charlie Parker and His ReBoppers, I wonder what that is?’ So I put my nickel in – four or five notes and I thought – and oh my God, this is the music I’ll dedicate my life to. Whether I sing it, teach it, support it – whatever, it doesn’t matter, I’ll just dedicate my life to that music. I’d finally found the music that I wanted to do where I felt I could get into and really mean it. And I’ll tell you, I got goose bumps when I first heard the first four notes, I was like whoa – it was almost like being elevated you know. That was ‘Now’s The Time’. And the funny thing about this record that’s so beautifully framed now is I was doing a concert maybe two summers ago and there was a wonderful poet on before us, his name is Billy Collins. He recited his poetry and afterwards it was going to be me and Cameron Brown the bass player, that’s a duo I have. I’ve been doing bass and voice since the fifties. I’m the originator of bass and voice – not to brag – but to say hey to singers and bass players ‘you know can do music this way too. And there are people doing it now – which is great. This was an outdoor concert and so we were in this big house where we got dressed, got ready and relaxed until we went on. It was just Billy Collins reciting his poetry and me and Cam. So my friend, (Peter) - this drummer and a wonderful artist, he knows I’m a Bird freak - and he draws birds – all kinds of birds he’s done - they’re beautiful he sends them to me or gives them to me. It was Peter, I said ‘Peter it’s good to see you man’ He said ‘ Yeah I have a present for you – I said really? I said ‘what is it?’ He said ‘yeah open it up’ And so I opened it up – it was this, all framed beautifully. I got so emotional and I thought oh my God - I don’t think I can go up there and sing right now! But I waited a few minutes, I hugged him and kissed him and thanked him. I said ‘Oh my God this is the most wonderful gift I’ve ever been given - except of course the music and my daughter (laughs). So that’s the story of that record!” Sheila Jordan: At home, New York City, 11th February 2014 Charlie Parkers Reboppers - The Koko Sessions by Devon "Doc" Wendell Sheila Jordan https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_m1wf2l_RON-CARTER_wb_WELLIS.jpg Ron Carter: Musician DVORAK: NEW WORLD SYMPHONY - BERNSTEIN, NY PHIL “My record of import is one I heard in 1962 when I heard the melody played by Yusef Lateef on oboe. I later found out the record he made on this disc was called ‘Going Home’ which is one of the movements from a Dvorak Symphony. So I went out and bought the disc – that would have to be done by Leonard Bernstein and The New York Philharmonic when they do the four movements of the Dvorak New World Symphony - and among these four movements is that melody called Going Home The story is that Antonin Dvorak came to the States - to New York, heard some blues people and went back to his hometown in Europe and wrote this melody – we call it ‘Gong Home’ I’ve since recorded it on a record of mine called Orfeu with Bill Frisell on guitar, Houston Person on saxophone and my working quartet. It’s a great view of a classical melody interpreted by jazz musicians who are always, going home.” Ron Carter: At home New York City, 1st April 2014 Antonin Dvorak: New World Symphony composed 1893 Ron Carter Leonard Bernstein https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_8wt5i4_Sonny_FortuneWB__William_Ellis_.jpg Sonny Fortune: Musician SONNY FORTUNE: LAST NIGHT AT SWEET RHYTHM “I have done many live recordings but I have never done a live recording of my own as a band leader and this is on my label which is entitled Sound Reason and that emblem has a significance. As you can see, it’s kind of a play on words because when you look at it, it’s a sun in the background with gold bars in front of it, so - Sonny Fortune [laughs] - the boy ought to be ashamed of himself but I’m not! So, you know, it’s all my compositions and it’s with a band that I feel very, very good about. That was the reason why I recorded it. And it’s, like I said, my first live recording as a band leader.I tell you what - there’s a tune on there that I wrote for someone that I have the highest regard for, is Elvin Jones . There is a tune on there called “The Joneses” and the tune consists of…it’s dedicated - and there were some reviews and people thought that I was talking about the family of Joneses, Thad and Mel, but actually I’m talking about Elvin and his wife Keiko, and she was Japanese and so the composition consists of a Japanese acknowledgement as well as an Elvin Jones acknowledgement and I feel very good about that. Coltrane told me that if I ever got the opportunity to play with Elvin Jones to take it, so I was working with Elvin the night Coltrane died. So I’m kind of locked into where I’m at because of a whole history of events and I should add that my two favourite drummers - last year when the Four Generations of Miles got together I told Jimmy Cobb - I said you ask anybody that’s known me for years and they’ll tell you I tell them that I developed my rhythmical concept from Jimmy Cobb and Elvin Jones, those were the two guys that influenced me the most. So to be working with Jimmy Cobb now is a continuation of when I was working with Elvin Jones.” Sonny Fortune: Harlem, New York City, April, 2013 Sonny Fortune https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_dbx13u_Robert_Glasper_w1LP__William_Ellis.jpg Robert Glasper: Musician SLUM VILLAGE: FANTASTIC ,VOL 2 "The reason this album is special to me is because the producer of the album - J Dilla is my favourite hip hop producer and I got the privilige to actually work with him before he passed away in 2006. To work with him - watch him make music - watch him in ‘the lab’ and see how he works. J Dilla is probably the only producer I know that changed the way musicians actually play their instruments. Normally a producer will just take from the musicians and do their thing - but J Dilla actually changed the way musicians play music. So this particular album Fantastic Volume 2 - when it came out, was to me the first time a record that made people start playing in that hip hop way behind the beat - kind of sloppy hip hop way - all that stuff started with Dilla - you know what I mean. This record has all of my favourite people on it - D'Angelo’s on there - Common - a lot of people on this record. It also means alot because of the time period it came out, and how it influenced the way I play doing my Trio and my Experiment band - just the way we feel the beat, his drum patterns, drum sounds, the way he samples piano and where he decides to put it - it's placement is what makes it just very very special. So I've kind of patterned alot of the stuff - especially when we play J Dilla beats we pattern alot of our stuff around his idea of where the beat is - so I think he was definitely ahead of his time and a genius of his time. So that's why I chose this record.” Robert Glasper: Hilton Garden Inn, Glasgow 28th June 2012 Slum Village Fantastic, Vol. 2 - released 2000 Robert Glasper https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_igt0qr_STEVE_KUHN___WB__William_Ellis.jpg Steve Kuhn: Musician MILES DAVIS: COOKIN' WITH THE MILES DAVIS QUINTET "In the…I guess it was in the ‘50s, Miles Davis had a quintet that included Philly Joe Jones, Paul Chambers, Red Garland and John Coltrane. They made several LPs for Prestige and any of them are my favourites. The cohesion in that band, the swing, it just had a great influence on me so I just loved that quintet. Miles had some other great bands and he influenced the music quite a bit but this particular quintet captured my heart." Steve Kuhn: Birdland New York City, 2nd May 2013 Cookin' With The Miles Davis Quintet released 1957 Steve Kuhn https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_dphhhm_Terence-Blanchardwb_William-Ellis.jpg Terence Blanchard: Musician MILES DAVIS: FOUR & MORE "It's Miles Davis 'Four and More' and the reason why it's so special for me because I remember the first time I heard it as a kid. Listening to that live performance blew me way because you know I had been listening to a very different style of trumpet playing and improvisation. Those guys just kept me in a tail spin trying to figure out what they were doing, where they were going and I remember I was trying to get a handle on what jazz was so I would play each track - and this was back in the days of albums so you're trying to find that spot on the record with the needle! So I used to play 'em over and over and over again. I would play you know, like ‘Four’, I would listen to Miles play then I would only listen to Herbie, go back then only listen to Ron, go back, only listen to Tony. I kept doing man until in my mind - the whole album man, that album had such an impact on my life - you know because it was so forward thinking in the realms of this music - and think about the date that it was recorded. To think that it still stands the test of time today speaks volumes about how important it is." Terence Blanchard: Old Fruit Market, Glasgow, 30th June 2011 Miles Davis: Four & More released 1966 (recorded 1964) Terence Blanchard https://onelp.com/artists 2026-04-06 monthly 0.8 https://onelp.com/music-lovers 2026-04-06 monthly 0.8 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_xmhmj1_BRIAN-HECHTwb_WELLIS.jpg Brian Hecht XTC: ORANGES & LEMONS Brain Hecht: ARChive of Contemporary Music, New York, 18th September 2014 XTC: Oranges & Lemons released 1989 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_1xq1cm_CLARA_JULIA-P_ROWANwb_-William-Ellis.jpg Clara-Julia Péru LOU REED: BERLIN Clara-Julia Péru: ARChive of Contemporary Music, New York, 20th September 2014 Lou Reed: Berlin released 1973 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_bb2bcu_DAVE-WALSHwb_-William-Ellis.jpg Dave Walsh PETER, PAUL AND MARY Dave Walsh: ARChive of Contemporary Music, 19th September 2014 Peter Paul and Mary: released 1962 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_4xktvc_DEAN-MELLISwb_-William-Ellis.jpg Dean Mellis: Motion Graphic Designer GEORGE HARRISON: ALL THINGS MUST PASS Dean Mellis: off White Steet, Tribeca, New York, 20th September 2014 George Harrison: All Things Must Pass released 1970 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_lu2uey_FRED-PATTERSONolpwb_WEllis.jpg Fred Patterson: Archivist BO DIDDLEY: BO DIDDLEY "Hey, I chose Bo Diddley’s first album because Bo Diddley was one of the greatest guys that ever walked this planet. He was a great guitar player. He wrote great songs - he had such a great sense of rhythm, better than almost anybody that ever followed him. His records are so fabulous and simple. They’re deceptively simple. Nobody can do them like Bo Diddley. Bo Diddley was the man. He was the king. I miss him." Fred Patterson: ARChive of ContemporaryMusic, New York City, 19th September, 2014 Bo Diddley: Bo Diddley released 1958 Fred Patterson is Head Archivist at The ARChive of Contemporary Music , New York City Fred is it. https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_o9q6d8_GUSTAVO_wb_-William-Ellis.jpg Gustavo Bernal PETER GABRIEL: SO Gustavo Bernal: ARChive of Contemporary Music, New York, 18th September 2014 Peter Gabrial: So released 1986 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_rqs0qc_JESSICA_MICHAEL-THOMPSONwb_-William-Ellis.jpg Jessic and Michael Thompson THE ZOMBIES: ODESSEY AND ORACLE Jessica and Michael Thompson: ARChive of Contemporary Music, New York, 20th September 2014 The Zombies: Odessey and Oracle released 1968 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_0hzhdf_KERRY-DORFwb_-William-Ellis.jpg Kerry Dorf THE WHO: QUADROPHENIA Kerry Dorf: ARChive of Contemporary Music, New York, 18th September 2014 The Who: Quadrophenia released 1973 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_ba2la9_MURRAY-WEINSTOCKwb_-William-Ellis.jpg Murray Weinstock: Musician THE JIMI HENDRIX EXPREIENCE: AXIS: BOLD AS LOVE The Jimi Hendrix Experience: Axis: Bold As Love released 1967 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_cr4ix9_PETER-FISHwb_-William-Ellis.jpg Peter Fish: Musician JOHN COLTRANE: THE CLASSIC QUARTET COMPLETE Peter Fish: The ARChive of Contemporary Music, 19th September 2014 John Coltrane: The Classic Quartet Complete released 1998 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_nmk80m_RICK-KINSELLwb_William-Ellis.jpg Rick Kinsell OMD: ARCHITECTURE AND MORALITY Rick Kinsell: ARChive of Contemporary Music, New York, 18th September 2014 Orchestral Manoeuvers In The Dark: Architecture and Morality released 1981 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_3d4htw_wbALAN-McLAREN-1014-c-WILLIAM-ELLIS.jpg Alan McLaren JOHN GRANT: THE QUEEN OF DENMARK “Well, as I said earlier on, I came up with a long list, and then I come up with a shorter, long list. Then I come up with a shortlist and then I come up with a short shortlist. And I eventually chose an album by John Grant called The Queen of Denmark. There are a number of reasons why I chose that. He's a fascinating man, he grew up in the Michigan area, came out as a teenager only to find that his parents tried to “cure” him. That set John down a very dark road. He joined a band called The Czars, made some good music, and eventually set out on his own. For me, this album is an all too rare example of an artist properly bearing his soul, telling a story in an interesting, melodic and an incredibly and lyrically relevant way. I'm just so amazed that he's managed to get through what I understand he's had to live through to get here and still produce such a thing of beauty. And he continues to do that. His musical style is changing but there's still a content a weight and a gravitas to everything he does. I started listening to all sorts of music for the One LP Project and I hear elements of much of that music in Queen of Denmark. I chose the album because it's a culmination of a lot of music that I've heard. And that journey still continues for him and for me.” Session: Alan McLaren Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist: John Grant Recording Title: The Queen of Denmark Released: April 19, 2010 Recorded: July–October 2008 and May–July 2009 in Denton, Texas Length: 51:16 Label: Bella Union Producer: Paul Alexander, Eric Pulido and John Grant https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_otwz9v_wbEILEEN-McLAREN-1004-c-WILLIAM-ELLIS.jpg Eileen McLaren THIN LIZZY: JAILBREAK “Okay, so it’s Jailbreak by Thin Lizzy. Probably is my earliest memory of a concert - that I went to with a friend - and not a family. And.changed my life. So the music, the guitars, the people in the band - I met them. It's just that moment in time that you capture and then I've been into rock music and guitar rock music ever since.” Session: Eileen McLaren Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist/Ensemble: Thin Lizzy Recording Title: Jailbreak Released: 26 March 1976 Recorded: December 1975 – February 1976 Studio: Ramport Studios, London, UK Length: 36:15 Label: Vertigo, Mercury (US only) Producer: John Alcock https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_awceon_ALLANwbfGLEN-0931-c-WILLIAM-ELLIS.jpg Allan Glen MICHAEL BRECKER: TALES FROM THE HUDSON “So it’s Tales from the Hudson by Michael Brecker. As you can see, it's quite a well worn CD, something that I got pretty early on in my career as a saxophone player because I had heard that you had to like him if you were a tenor sax player, and I'll be honest, I got this album, and just didn't get it and t I've heard the same thing from a lot of people. They say that Brecker is someone who you acquire - you just get to a point and this was the same thing. I tried this out a few times because I was a big fan of Pat Metheny. My first real jazz album that I remember listening to was Letter From Home by the Pat Metheny Group and I fell in love with his playing. So I was kind of like, well, surely if Pat’s on this album, then I’ll like it. I just didn't get it. I just couldn't understand the album and then just a few tries, and then suddenly, it just clicked into place. And it's something that from a technical standpoint I think Brecker is just an absolute master of the instrument - or was a master of the instrument. Lyrically, this is amazing, the version of African Skies on it, which is obviously for a jazz quintet, rather than the Brecker brothers kind of fusion band is phenomenal. But then I think my favourite solo is Midnight Voyage - the second track on the album, which is just this incredible slightly altered blues. His playing is just phenomenal. it’s something that I go back to - I haven't actually listened to I put it on last night and it's first time I’ve listened to it about maybe a year, a year and a half. And I can still sing all the solos, and I still know the order of all the solos -I just fell back in love with it. Because when you had said, ‘an album of great significance’, my brain instantly went to this one. It wasn't a choice - just went straight to it. And the question I asked you was as all right to bring a CD because I don't have this on vinyl. And again, you look at that you look at the band itself. I mean, you have like the who's who of jazz players, especially in the early 90s, Metheny, DeJohnette, Dave Holland, Joey Calderazzo and then you've got McCoy Tyner and Don Elias. And that again, as know, many, many years later, that's quite special because I have one of your prints in my living room of McCoy and Mike at Iridium. I look at that and think you know those two are no sadly no longer with us, but their catalogue of work is just exceptional - unbelievable. So yeah, that's my album. That's why it means so much to me. That was my introduction to like, just utter technical and melodic genius on saxophone - probably more than Coltrane. I'm a huge Coltrane fan and got into Coltrane, but Brecker was the first one for me and it’s that sound as well. I can instantly just, you can just hear it and if you ever hear it, because obviously has such a prolific sideman career, and so many genres that you'll hear him on pop stuff from the 70s. You'll hear them obviously with Paul Simon, even with Dire Straits, and he plays two notes and you're instantly - ‘Oh, it's Brecker that's on that’. And there are many permutations, but there's only one Michael Brecker. And I was lucky - I got to see him live, which must have been his last tour before he became ill, which was when he was doing this large ensemble concert and it was at the Barbican and that was just mind blowing. I think I was like two rows back and when he walked on stage, it was just it was incredible to be in the room with him. We were sitting I was sitting so close that I didn't really hear the sound of him coming through the PA I heard his sound - which again, as a saxophone player was just immense. was so so cool to hear. Yeah, that's my album.” Allan Glen Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist: Michael Brecker Recording Title: Tales From The Hudson Released: 1996 Recorded: 1996 Studio: Power Station, New York City Length: 60:23 Label: Impulse! Records Producers: Michael Brecker, George Whitty, Pat Metheny https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_oak9fq_ALISTAIRwb-THORNTON-0917-c-WILLIAM-ELLIS.jpg Alastair Thornton SIGUR RóS: UNTITLED “It’s Untitled by Sigur Rós, an Icelandic band. From the moment I first heard it it’s been the most overpoweringly emotional piece of music that I’ve ever listened to and ever had the pleasure of owning. It is always exciting to listen to and fills me with joy.” Session: Alastair Thornton Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist/Ensemble: Sigur Rós Recording Title: Untitled Released: 28 October 2002 Studio: Sundlaugin, Mosfellsbær, Iceland Length: 71:46 Label: FatCat Bad Taste Producer: Sigur Rós, Ken Thomas https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_e0fu20_DAVIDwbHOSSACK-0994-c-WILLIAM-ELLIS.jpg David Hossack RONNIE LANE AND SLIM CHANCE: ANYMORE FOR ANYMORE “The album is Anymore for Anymore by Ronnie Lane and Slim Chance. Why it's significant - I discovered it, because I was a Who fan, and I liked The Faces and Small Faces. The album Rough Mix by Pete Townshend and Ronnie Lane introduced me to a different aspect of Ronnie Lane. That in turn brought me to this LP, bought not at the time it came out in 1974, but much later. Never regretted that decision. It was fresh and remains so to this day. It is difficult to describe it as it transcends all genres. It could be said to be a bit folky, but it's not traditional folk music. It might be described as country music, but not in the American sense, more in a rural English way. The word that comes to mind is bucolic and, in some ways, it is but it is very difficult to catch the essence of it. And that's maybe part of the beauty of it. On first listen, you might think it's a bit ragged, a bit loose, but actually it's tremendously tight. These are musicians who know exactly what they're doing and have the knack of making it sound ragged like they don't. It's an album I've had since I was about 18 years old. Whilst some favourite music has diminished in impact over the years, this one gets me every time. It has everything. There are some great interpretations of songs such as Careless Love together with his own songs. Tell Everyone which was on one of The Faces albums is reworked, and to my mind, it's one of the most beautiful love songs. There's a tremendous saxophone solo on it by Jimmy Jewel which is the essence of simplicity but just so emotive. And it's got humour there's a great song called Chicken Wired, about taking a chicken to market which on paper sounds terrible but it's a really rocking sort of folky song - a great piece of music with some “throwaway lines” by Lane. And it's also got some pieces that could be described as spiritual such as the The Poacher. This has beautiful poetic imagery such as “Bring me fish with eyes of jewels and mirrors on their bodies”. Ronnie Lane continued to make fine music, but nothing got as close to perfection as this one.” David Hossack Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist/Ensemble: Ronnie Lane and Slim Chance Recording Title: Anymore for Anymore Released: July 1974 Recorded: 1973–74 Studio: Fishpool, Hyssington with Ronnie Lane's Mobile Studio; mixed at IBC Studios, London Length 40:37 Label GM Producer: Ronnie Lane, Bruce Rowland, Glyn Johns *Recording engineers: Hugh Jones, Andy Knight Recording Engineer: John Burns/Ron Fawcus Artwork/sleeve Art: Paul Bevoir Liner notes: Alberto Mitchell, Wayne Pernu https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_mne2rl_GEORGE-PEEBLES-0903WB-c-WILLIAM-ELLIS.jpg George Peebles ROXY MUSIC: ROXY MUSIC “It’s the Roxy Music first album from 1972 - and the original pressing I bought when it was released. The background is that I got into music in the early 60s when I was about 10 years old and I come through the Beatles got into Dylan started to expand my horizons in the late 60s to psychedelic stuff and all that, got into Americana, the Band albums and that around the turn of the 70s - not impressed by the traditional glam rock scene but then one night I was watching I think it was Top of the Pops probably and saw this band Roxy Music, I thought this is different - there’s more to this than meets the eye. So I immediately went out and bought their album because of course the single they were doing was Virginia Plain which is not on the album, at least not on the original album it's on the Steven Wilson remix that came out a couple of years ago. But I just loved the album, I think it was very novel it took me in new directions to think about other things like for instance – the Kraftwerks and Cans of this world it kind of opened up that world - not that there's a huge similarity, but just the Eno influence in the first couple of albums definitely took me into that direction. So I just loved the album ever since I play it regularly still. Still cherish my original copy, I have a few other copies just for ease of use and CDs and various remixes etc. and I think Roxy Music first three - four albums stand the test of time after that, I think they go a bit showbizzy, - Mr. Ferry became quite, you know, I think self centred, even more than normal. But I think initially, especially those first two albums when there was an obvious tension between Bryan Ferry and Eno in terms of who the who was really driving the music if you like I think just makes it a very very interesting album, one of the great debut albums and I must have played it 1000s of times over the last near 50 years !” George Peebles Session Date: 24 September 2021 Location: Loud & Clear, Edinburgh Artist: Roxy Music Recording Title: Roxy Music Released: 16 June 1972 Recorded 14 March 1972 – 29 March 1972 Studio: Command Studios, London Length: 42:12 Label: Island Reprise Producer Peter Sinfield https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_5zn16r_JOHNwbMACLEOD-0979-c-WILLIAM-ELLIS.jpg John Macleod BOB DYLAN: JOHN WESLEY HARDING “The album is John Wesley Harding by Bob Dylan and the significance is that it's the first Dylan album I ever heard- an older friend played it to me. I was 13 years old at the time. I was very taken by it and went out the next day and bought it from the local record shop. My father was a collector of (mainly pre-war) blues, folk, and country music, so I was familiar with these song structures. Bob Dylan on this record used the traditional forms, but built on these, increased the mystery in both simple and complex ways, and took everything further. I don’t think anyone (apart from Dylan) has taken any of it any further since. I think he is the master of all song forms – not just blues, folk and country, but also ballads, tall tales, nursery rhymes, surrealist epics, love songs and nonsense verse. I still love this album- it’s the one that started it all off for me.” John Macleod Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist/Ensemble: Bob Dylan Recording Title: John Wesley Harding Released: December 27, 1967 Recorded:October 17 and November 6 and 29, 1967 Length 38:24 Label Columbia Producer: Bob Johnston John Berg: Cover photo Engineer: Charlie Bragg https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_ag8tx4_MIKE-DOOLEY-wbOLP-9462-c-WILLIAM-ELLIS.jpg Mike Dooley THE BEATLES: 1962 - 1966 “It's the Beatles 1962 to1966. And it just takes me back a long time. But it was one of the first pieces of music that I really got to know the songs from that album. And my dad's from Liverpool. So of course, I was brought up with The Beatles. And I can always remember Christmas time getting a guitar and I was singing away and ‘She Loves Me’ in front of my mom and dad sitting on the city and it was the bee's knees. I was a business. Absolutely brilliant. And ever since then, I've always listened to The Beatles. You know, if I wanted to, like self, go on some pills, and that's when my go to album just to listen to that. Amazing, amazing tracks.” Session: Mike Dooley Session Date: 2 November 2021 Location: Loud & Clear, Edinburgh Released: 2 April 1973 Recorded: 11 September 1962 – 21 June 1966, EMI Studios, London and Pathé Marconi Studios, Paris Length: 62:34 Label: Apple Producer: George Martin Compiler: Allen Klein https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_4teipx_ROSSwbWATTERS-0956-c-WILLIAM-ELLIS.jpg Ross Watters PINK FLOYD: THE DARK SIDE OF THE MOON “Dark Side of the Moon by Pink Floyd - special to me because when I was younger, I didn't really follow the same kind of musical tastes as many of my friends or my peers at the time and I wasn't really into rock much, but this album changed that for me. And over the years, I have many memories that are linked with it - all of them good. And for me, it's the album that I always go to if I want to get some peace and calm and be able to think. I mean, it's full of fairly depressing lyrics and the songs are a little bit on the sad side, but it doesn't do that for me, just allows me to go into another place and release any of the kind of crap that's happened during the week and I just love listening to it. I will always be able to listen to it. Whenever I put it on, it commands my attention. I don't go and do other things and for that reason in the memories, I love it, and that's why I chose it.” Session: Ross Watters Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist: Pink Floyd Recording Title: The Dark Side of the Moon Released: 1 March 1973 Recorded: June 1972 – January 1973 Studio: Abbey Road, London Length: 43:09 Label: Harvest Producer: Pink Floyd https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_ibh0r4_BRIAN-MORRIS-fw1929-c-WILLIAM-ELLIS.jpg Brian Morris WEATHER REPORT: SWEETNIGHTER "Sweetnighter was my introduction to modern electronic jazz, but not the first jazz album I owned, (Jon Hiseman’s Colosseum, - Those About To Die Salute You) - which I also love. However, Weather Report’s Sweetnighter, opened my musical horizons and journey into jazz, rock, fusion and what was later progressive music, at a time when music was really changing with new electronic instruments, the synth for example, and probably used for the first time in jazz by Herbie Hancock with his band Head Hunters, and the album of the same name - another favourite I play to this day. Listening to live music and LPs became and remains an important part of my life, especially as a keen hifi enthusiast or audiophile, listening to vinyl at home for the cerebral immersion in the sound and form this new and exciting music delivered and especially the music of Weather Report. Many years later I was fortunate to attend a concert by Weather Report at the Universal Amphitheatre in LA and will never forget that performance and especially the encore – an improvised and emotional duet between Wayne Shorter and Josef Zawinul. The LP is an important and historical document like no other regardless of genre, expressing an artist’s journey, music, culture, and musical intent, embodied in physical ownership. Sweetnighter by Weather Report is therefore, my One LP of significance for its ground-breaking music, influence and longevity and is now in a collection of Weather Report LPs and part of a diverse collection of more than 5000 LPs many years later." Brian Morris Session date:18th November 2021 Location: House of Linn, Manchester Artist: Weather Report Recording: Sweetnighter Released: April 27, 1973 Recorded February 3–7, 1973 Studio: Connecticut Recording Studio Length: 44:41 Label: Columbia Produce: Bob Belden (Reissue producer) https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_7jjd8c_TREVOR-LIDDLE-fwb1997-c-WILLIAM-ELLIS.jpg Trevor Liddle Trevor Liddle https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_whuxoh_COLIN-ANDERSON-OLP-WB-2436-c-WILLIAM-ELLIS.jpg Colin Anderson JONI MITCHELL: HEJIRA "I love this album; it accompanied my own “exile” from childhood to adolescence, a happy time of excitement and change. The lyrics reflect on the experience of travel, full of frank recollections and stories of encounters along the way. I think musically it represents a departure from some her previous, more pop-oriented songs to a more complex, jazz inspired sound. The fabulous, melting fretless bass lines of Jasco Pastorius are a real joy throughout. Refuge of the Road remains my favourite with its closing reference to the profound “Earthrise” photograph, taken by Apollo astronaut Bill Anders.” One LP Session: Colin Anderson Session Date: 2 December 2021 Location: Loud & Clear, Edinburgh Artist/ensemble Joni Mitchell Recording Title: Hejira Released: November 1976 Recorded: 1976 Studio A&M, Hollywood Length: 51:55 Label: Asylum Producer Joni Mitchell, Henry Lewy https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_4ebz77_DAVE-CAMERON-OLP-FWB-2483-c-WILLIAM-ELLIS.jpg Dave Cameron MARILLION: SCRIPT FOR A JESTER€™S TEAR “The album is Script for a Jester’s Tear by Marillion. This is one of the first five albums I bought. The first was Pictures of Matchstick Men by Status Quo. Intersting album but it didn’t take me to the places that Script for a Jester’s Tear has. This album came out in 1983 and I’ve made so many lifetime friends through Marilliion. I’m not a Marillion geek I just happen to have other friends who have the same passsion We’ve been to so many Marillion gigs and Fish conventions in different parts of the world and it’s just one of those albums that catalyses us all together. It’s all about friendship and it’s all about people and catalysing I remember buying it in John Menzies on Annan High Street for £5.99 - which was quite alot of money in those days. As I say it’s catalysing people.” One LP Session: Dave Cameron Session date: 2nd December 2021 Location: Loud & Clear, Edinburgh Artist/ensemble: Marillion Recording Title: Script for a Jester’s Tear Released: 13th March 1983 Recorded: December 1982 – February 1983 Studio: Connecticut Recording Studio Length: 46.45 Label: EMI Producer: Nick Tauber https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_9cy8od_JONATHAN-MILLAR-OLP-WB-2098-c-WILLIAM-ELLIS.jpg Jonathan Millar DAVID BOWIE: HEROES “The record I’ve chosen is David Bowie’s “Heroes”, released in 1977 when I was 16. When it came out it was my first exposure to David Bowie, and the first Bowie album I bought. I was amazed by the difference between it and the other music I was listening to at the time, mostly punk stuff like Buzzcocks, Sex Pistols and The Clash. “Heroes” was so different, somehow exotic and almost otherworldly. I became fascinated by the stories that emerged about the writing and recording process in Berlin and what was happening there at the time, the musicians involved, and the part it plays in Bowie’s “Berlin Trilogy” and his overall body of work. The sound of it intrigued me, and I started hearing echoes of it in lots of other things. I sought out his other records, music that had influenced him, and musicians he had himself influenced, which took me in many different and fascinating directions. I suppose the album began to gather dust, but I revisited it nearly 40 years after I first heard it. I was looking for a particular track for our wedding day, to play while my wife Caroline and I left our guests at the end of the reception. We chose the title track. “We can be heroes, just for one day” pretty much sums up how we felt that night, as our friends and family clapped and cheered us on our way out.” One LP Session: Jonathan Millar Session date: 1st Decemebr 2021 Location: Lous & Clear, Glasgow Artist/ensemble: David Bowie One LP: Heroes Released 14 October 1977 Recorded July – August 1977 Studio Hansa (West Berlin) Length: 40:19 Label: RCA Producer: David Bowie, Tony Visconti https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_2zmkdl_ANGIE-0405-c-WILLIAM-ELLIS.jpg Angie Russell THE BLACK ANGELS : PASSOVER After reading a review in Mojo magazine back in 2006, I mail ordered a copy of this and remember it landing on my doormat a few weeks later all the way from the good ol’ US of A. I loved the simple but striking black and white cover design immediately but had no inkling what was hiding inside. With a few notable exceptions (Pearl Jam, The Chili Peppers etc), I had always been a jingly, jangly British indie girl at heart and thought that I didn't really like ‘American' music. That all changed with the Black Angels debut album, ‘Passover’ and it helped open up a whole new world of music for me. A journey that I’m still on..." Angie Russell: Loud & Clear, Edinburgh, 1 September 2021 The Black Angels : Passover Released April 11, 2006 Recorded Cacophony Recorders, Wire Recording, and Shh! Recording Studios, Austin, Texas Length 58:48 Label Light in the Attic Records Producer The Black Angels, Erik Wofford, Ross Ingram https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_qjfzdt_AGATHE_OLPwb-0335-c-WILLIAM-ELLIS.jpg Agathe Girard THE OSCAR PETERSON TRIO: WE GET REQUESTS Agathe Girard: Loud & Clear, Edinburgh, 1 September 2021 The Oscar Peterson Trio: We Get Requests Released 1964 Recorded October 19, November 20, 1964 Length 39:42 Label Verve Producer Norman Granz https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_wlprii_CHRIS-0451-c-WILLIAM-ELLIS.jpg Chris Lusby Chris Lusby: Loud & Clear, Edinburgh, 1 September 2021 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_hv6hze_HUBERT-0390-c-WILLIAM-ELLIS.jpg Hubert Aniolek Hubert Aniolek: Loud & Clear, Edinburgh, 1 September 2021 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_ifat6p_IAIN-0429-c-WILLIAM-ELLIS.jpg Iain Dewar FRANKIE GOES TO HOLLYWOOD: Iain Dewar: Loud & Clear, Edinburgh, 1 September 2021 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_y6ybxj_JAMIE-0420-c-WILLIAM-ELLIS.jpg Jamie Thornton Jamie Thornton: Loud & Clear, Edinburgh, 1 September 2021 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_fpxjv3_JOHN-0487-c-WILLIAM-ELLIS.jpg John Carroll DAVID BOWIE: HUNKY DORY John Carroll: Loud & Clear, Edinburgh, 1 September 2021 David Bowie: Hunky Dory Released 17 December 1971 Recorded 8 June – 6 August 1971 Studio Trident, London Length 41:50 Label RCA Producer Ken ScottDavid Bowie https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_uj04we_ANNE-HEMINGWAY-wOLP-2565-c-WILLIAM-ELLIS.jpg Anne Hemingway DAVID BOWIE: PIN UPS “My memories of this album goes back to when I was living in the nurses home when I was training to be a nurse. As we hadn't much money and we couldn't afford to buy our own records we used to club together and this is one of them that we bought which we all loved. We used to play it and play it and play it, so when we moved out of the nurse's home I took it homewith me without telling the other nurses, but it was scratched to death. Then a couple of years later I went to live in Rhodesia and I had to leave all my music behind so one of the first things I bought when I got there was a record player and this (album) so I just used to play it and play it and play it - it reminded me of home. It brought back lot of memories. 'Sorrow' - and See Emily Play were my two favourites I bought three albums when I bought the record player Bowie , Jackson5and Alvin Stardust. When I brought them all back to England Pin Ups mysteriously disappeared (My brother was the main suspect), so I guess what goes around comes around.” One LP Session: Anne Hemngway Session date: 16 December 2021 Location: House of Linn, Manchester Artist/ensemble: David Bowie Recording Title: Pin Ups Released: 19 October 1973 Recorded: July–August 1973 Studio: Château d'Hérouville, Hérouville, France Length: 33:42 Label: RCA Producer: Ken Scott, David Bowie https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_ipwuim_GARY-BARTON-2OLP-2595-c-WILLIAM-ELLIS.jpg Gary Barton DAVID BOWIE: LOW "It's the first of the David Bowie Berlin trilogy - 'Low' made in 1978. What sprung to mind was how this album changed the way I listened to music and I thought that, with this album in particular, you had to change the way you listen to music when you were listening to it because I’d not heard anything like it before. I went to see him on June 24th 1978 at Stafford Bingley Hall. Before he came on they had 'Another Green World' playing by Brian Eno and that was quite significant because Brian Eno features quite a bit on 'Low' inspiring Bowie through his ‘ambient’ approach. He opened up with 'Warszawa' conducted by Carlos Alomar, it was absolutely amazing, it made the adrenalin flow in your body. What happens when adrenalin flows through your body is that your memory of the time is crystalised, it’s something to do with the chemical, you distinctly remember what was happening - what was going on. The song 'Warszawa' features chanting - there's no words as such but what I found fantastic was the emotion in the singing. Also 'Subterraneans' on the second side is similar - there are words but you can't tell what they are and if you can they don’t make any sense (to me) but Bowie sings them with such emotion. Low is an example of a superstar who embraced the ambient music of Brian Eno. There wasn’t a big audience for it. Bowie didn't steal his ideas but he'd always been inspired by other musicians and on this album Bowie popularised and introduced ambient music to the mainstream. Bowie and Brian Eno teamed up for this album - the thing is with this album is on the first side - he went back to pop songs after the previous album 'Station to Station' and the second side is all infuenced by Kraftwerk, Nue etc which he was listening to while living in Berlin. He was obviosly infuenced by them on the second side. If you notice on side one the songs are very short and what they'd done, they'd gone into the studio and he's only half completed these songs - the seven songs on the first side - there were no endings to them so Brian Eno said 'Well what we'll do - instead of putting an end on them we'll just fade them out - and that's what they did. However the last track on side one, 'A New Career in a New Town' - the one with the mouth organ on, leads you into the second side beautifully. And ther's also a skill in ordering the tracks on an album and I think he chooses the order on the first side brilliantly - it leads into the second side which, as I said is heavily influenced by Brian Eno's ‘ambient music’. A work of creative genius.” One LP Session: Gary Barton Date: 16 December 2021 Location: House of Linn, Manchester Artist/ensemble: David Bowie Recording: Low Released: 14 January 1977 Recorded: September–October 1976 Studio: Château d'Hérouville (Hérouville); Hansa (West Berlin) Length: 38:26 Label: RCA Producer: David Bowie, Tony Visconti https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_v15e9q_IAN-RENNIE-OLPwb-2523-c-WILLIAM-ELLIS.jpg Ian Rennie BOZ SCAGGS: SILK DEGREES “ When you talk about ‘significance’ and key elements of influence you immediately start thinking back in time.So, when I started thinking about an ‘album of significance’ I went right the way back to 1976. I was 15 years old and at the age when you start forming views and opinions on all sorts of things, including music…and of course coming from Liverpool everybody had an opinion on anything and everything ! I went to an all boys grammar school in Liverpool and along with sport, music was one of those interests we all fell in to….you would be going to school with your sports bag in one hand and your record bag in the other, ready to share your latest record with your mates.This is how I came across my ‘album of significance’ - Boz Skaggs: Silk Degrees. A friend brought the album in to school and said ‘You need to have a listen to this.’ So, I took it home, sat in my Mum and Dad’s front room in our council house in North Liverpool and played the album on my Technics stacking system with my Dual turntable and Kef Coda II speakers…I loved it ! It was completely different to anything else I was listening to. Is it Blues ? Is it Soul ? Is it Soft-Rock?….But it didn’t matter, I just liked it and I guess this was one of the reasons I chose this album over some of the other candidates ( …Stevie Wonder -Innervisions, Genesis - Selling England by the Pound , Billy Joel - The Stranger ). So why was it ‘significant’? I guess the ‘significance’ aspect to me was the fact that ‘if you like it, you like it’ don’t try and pigeon hole genres and keep an open mind.It’s something I’ve tried to do throughout my life …don’t pigeon hole people, don’t pigeon hole regions, don’t pigeon hole music. So that’s one element of why I felt this album was significant.I think the other element of ‘significance’ is that this album represents for me how music can be a great point of common coupling and a great social enabler. ‘Silk Degrees’ as well as being my ‘album of significance’, is simply a great album.I played it recently and it doesn’t sound or feel dated….a great bass line on ‘What Can I Say’ and ‘Harbour Lights’ as evocative and atmospheric as ever, with a great trumpet solo running the track and side one out. I always believe album cover art can help to position an album in your imagination and I use to lie there listening to ‘Harbour Lights’ looking at the album sleeve conjuring up all sorts of emotions. The album cover I found subsequently, was actually shot at Casino Point on Catalina Island off the coast of Los Angeles, California which just stirred my imagination even more. Boz Scaggs - ‘Silk Degrees’….a great album and my ‘album of significance’ !! “ One LP Session: Ian Rennie Session date: 16th Deember 2021 Location: House of Linn, Manchester Artist/ensemble: Boz Scaggs Album: Silk Degrees Released: February 18 1976 Recorded: September - October 1975 Studio: Davlen Sound Studios, North Hollywood, California; Hollywood Sound Recorders, Los Angeles, California Length: 41:28 Label: Columbia 33920 Producer: Joe Wissert Producer: Bob Belden (Reissue producer) https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_1d33m2_MICK-HARPER-OLP-2579-c-WILLIAM-ELLIS.jpg Mick Harper PINK FLOYD: THE DARK SIDE OF THE MOON "When Floyd brought out 'Dark Side of The Moon' it did something to me. I just thought ‘WOW” this is fabulous - absolutely fabulous. It is an album I can play again and again and again without ever getting tired of listening to it and I still feel that way today. I can put it on and just keep playing it. It probably changed the way I thought about music and I thought Roger Waters lyrics and compositions were brilliant. I suppose Dave Gilmour and the rest of the band contributed in some way but mostly it was a Roger Waters concept. I still think they're a great band my only regret being that I never got to see them perform live but fortunately I can still watch past performances of them on television - they're brilliant aren't they!" Session: Mick Harper Session Date: 16 December 2021 Location: House of LInn, Manchester Artist/ensemble: Pink Floyd Recording Title: The Dark Side of the Moon Released: 1 March 1973 Recorded: June 1972 – January 1973 Studio: Abbey Road, London Length: 43:09 Label: Harvest Producer: Pink Floyd https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_5j7we6_ROY-COULSON-OLP-2540-c-WILLIAM-ELLIS.jpg Roy Coulson GENESIS: SELLING ENGLAND BY THE POUIND "I grew up in a household with an older sister and brother. As the youngest, initially, you look for help from your siblings to find a musical sound which is you. This is a good start but it was limiting for me - it wasn't mine; I had no ownership. In the 60's and early 70's your exposure to popular music was the radio, Top of the Pops and songs that only lasted 3 minutes, or seemed to. Glam rock was not for me! The main influence to find my own sound was friends at school. It was here that someone introduced me to this band called Genesis. It was the single 'I Know What I Like' that I heard first and I thought, ‘This is interesting’. It was different. It was catchy as a song but it didn't end in 3 minutes, it went off in all sorts of weird and wonderful directions. It had unusual sounds and lyrics that you don't normally come across and would never hear on the radio. It led me to the album which was the first album I'd really bought. I thought 'This is fabulous’. There's not just creative lyrics, complex melodies and extended instrumental sections; It also had songs lasting more than 10 minutes! I remember saying to myself, 'This is for me!’ It was the blue touch paper setting me on my own personal musical journey. It’s what got me going and what made it happen for me musically. The album gave me my first real musical identity.” One LP Session: Roy Coulson Date: 16 December 2021 Location: House of Linn, Manchester Artist/ensemble: Genesis Recording: Selling England by the Pound Released: 13 October 1973 Recorded: August 1973 Studio: Island (London) Length: 53:44 Label: Charisma, Atlantic Records Producer: John Burns, Genesis https://onelp.com/arts-media-venues 2026-04-06 monthly 0.8 https://onelp.com/a-g 2026-04-06 monthly 0.8 https://onelp.com/h-z 2026-04-06 monthly 0.8 https://onelp.com/eps 2026-04-06 monthly 0.8 https://onelp.com/luthiers 2026-04-06 monthly 0.8 https://onelp.com/photographers 2026-04-06 monthly 0.8 https://onelp.com/musicians 2026-04-06 monthly 0.8 https://onelp.com/a-b 2026-04-06 monthly 0.8 https://onelp.com/c-f 2026-04-06 monthly 0.8 https://onelp.com/g-l 2026-04-06 monthly 0.8 https://onelp.com/m-r 2026-04-06 monthly 0.8 https://onelp.com/s-z 2026-04-06 monthly 0.8 https://onelp.com/premiere-exh-archive-contmp-music---nyc 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_yij2wa_Al_Jarreau_1LP___William_Ellis.jpg Al Jarreau: Musician LES DOUBLE SIX: LES DOUBLE SIX “Double Six - when I was in college in my first year I had formed a singing group patterned along the lines of Lambert, Hendricks and Ross - and Double Six. Double Six changed my life - I listened to them instead of going to class - I think they almost sent me home! Very important music to me, I became friends with Michel Legrand - his sister sang in the group then and Mimi Perrin - thank you Mimi! we’ll all see you soon. So Double Six - very important, lots of people important - but a special place for them.” Al Jarreau: Bridgewater Hall, Manchester, 26th July 2011 Les Double Six - released 1962 Al Jarreau https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_id6k9i_KENNY_BURRELL_0LP_w___William_Ellis_cy.jpg Kenny Burrell: Musician DUKE ELLINGTON: THE GREAT PARIS CONCERT Kenny Burrell: Distinguished Professor Of Ethnomusicology, Director of Jazz Studies, UCLA "The record the maestro recorded in Paris in 1963 there are many great things on this recording. It starts off with Rockin'n Rhythm which we all know has gotten it's own wings after Ellington.Written in 1929 - hello! - Zawinul and those guys were do it later. Star Crossed Lovers from the Suite,the Theme from the Asphalt Jungle movie,couple of pieces featuring Cootie Williams, Concerto for Cootie, Tutti For Cootie and The Suite Thursday another suite by Ellington and Strayhorn. One that I particularly like - well I have to say it's one of favourite pieces in all of Ellingtonia - and all music is Tone Parrallel To Harlem known as Harlem Suite. This was commissioned in 1950 by Arturo Toscanini of The NBC Symphony Orchestra of New York. Ellington at that point was pretty popular and also gaining recognition as a serious composer so that's why he got the commission - at the time he was fifty one. That piece has been recorded in many formats including symphony orchestras both here and in Europe and on various occasions by Ellington himself with his band - this happens to be one of my favourite versions of it. First of all I love the composition, I think it's one of the most outstanding musical compositions ever written, certainly (ever written) by Ellington. It's a through composed piece of material - and it is jazz, not a lot of improvisation in this piece because it's through composed. But the main thing about this - it is a great extended composition of jazz music - that only Ellington could do. I would encourage anyone to listen this, it happens to be my favourite version of it - and this a live performance in Paris in 1963. One of the things you should listen to this piece of music is the huge variety of time changes - the huge variety of harmonic changes - the huge variety of tonal colour - of shifting around. It's amazing how he could get such variety with fifteen musicians - it's unbelievable, but he managed to do that and that's why he's considered many the greatest - not only the greatest jazz composer of the twentieth century but the greatest composer of the twentieth century and this is coming from some serious classical musicians who feel that way - let alone jazz musicians who feel that way. The classical people are starting to say this is some new - material done in a highly sophisticated way that has never been done before - so that's why I wanted to talk about this record! It's like all great art - the more you listen, the more you look - the more you hear, the more you see - I never tire of hearing this. Listen closely and something else reveals itself." Kenny Burrell: University of California, Los Angeles, 7th May, 2013 Duke Ellington: The Great Paris Concert released 1973 Kenny Burrell https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_dgot45_AlanMarkFerber__WEllis_olpw.jpg Alan and Mark Ferber: Musicians UNITY: LARRY YOUNG I met up with Alan and Mark at the Blue Whale in little Tokyo, LA on a hot late Sunday afternoon where I discovered they had gone for the same album for very different reasons. Alan: Yeah. Well, this album from a horn player - I’m a trombone player - so, from a horn player’s perspective, it was very influential on me in a number of ways. Number one being that it was the first time I was introduced to Woody Shaw and his pentatonic style of playing. Very compelling, the way he was playing and I was attracted to a more modern style of playing a brass instrument and when I heard him initially I just knew I liked it . I didn’t know what the heck was going on and as I explored it a little bit further I got more familiar with pentatonics and his complete mastery of that and this record really, I think, is some of the strongest … ah … some of Woody Shaw’s strongest playing. In addition to Joe Henderson, I think the two of them are great foils for each other. Joe Henderson being one my absolute favourite tenor saxophonists and, you know, the trumpet/tenor combination has a long history in jazz and I think this is one of the premier examples of that, especially with Elvin Jones being on and then Larry Young, of course. An amazingly open feeling because of the organ. Larry Young and Elvin have this very loose kind of feel yet very...it just grooves so hard but it’s not in the organ-grinder kind of way. It’s an amazing example of kind of liberating the traditional organ/drum relationship from that to a more modern jazz context. And then you put those two horn players up on top of it and it just blew my mind. Mark: Yes, as a drummer, this could be one of the benchmark records for Elvin Jones, one of the classics - obviously there’s the whole John Coltrane library that’s, you know, sort of untouchable in a lot of ways, but this is one of the few dates, to my knowledge, that Elvin did with Larry Young. I know a few other records but this one is special in a sense that there’s one track on there where they play duo. I had never heard that before, this record , with those guys playing together. What, for me, what I heard was what I’m so used to, as a drummer , to hook up with the bass player, the organ player. This is a great example of… they’re not hooking up and yet they are. Elvin Jones is playing way behind Larry Young’s beat but somehow it works amazingly. It’s still a mystery. The reason why I think this record is still a complete mystery to me: how that sounds so good, because they’re playing almost in their own ostinatos, their own worlds, yet it gels so great and then obviously the playing on top of that, all the soloists are some of the most classic solos in jazz. So, I could talk for hours about this record but that, for me, was something that really stuck out. WE: That’s lovely. Thanks, gentlemen. Alan Ferber and Mark Ferber: 'The Austin Powers Room' - Blue Whale, little Tokyo, Los Angeles, May 2013 Unity: Larry Young, leader - organ. Woody Shaw, trumpet. Joe Henderson, tenor sax. Elvin Jones, drums Alan Ferber Mark Ferber https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_9l38ch_Becca_Stevens_w1__William_Ellis.jpg Becca Stevens: Musician MICHAEL JACKSON: BAD “It had to be Michael Jackson – then I had a tough time picking which record - but this has my favourite song – ‘Man in the Mirror’ – I love it so much. I narrowed it down from Off the Wall, Bad and Thriller - it was difficult to narrow it down even that far. This record means so much to me.” Becca Stevens: The Bay Horse, Manchester, March 2013 Michael Jackson: Bad Becca Stevens https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_a9xjlr_ARTURO_O_FARRILLwb__William_Ellis.jpg Arturo O'Farrill: Musician MACHITO: KENYA "We have this beautiful thing we do called The Fat Afro-Latin Jazz Cats which is our pre-professional program big band and one of the parents of one of the kids – and they’re from middle school and high school heard me say at a show that I’d worn out four or five copies of this record so he bought me one, so it’s a brand new vinyl pressing of Kenya. I wore out four or five copies so I listened to it! - we actually play some of the music - Wild Jungle, Conga Mulence, Kenya, Tin Tin Deo, we play Holiday Mambo. It’s considered the first Afro-Cuban big band Jazz big band record and I think the reason for this is that it has no purpose in terms of being commercial, sell records or just be a dance record – it’s really about the music. Machito was really quite the gentleman and really cared about having this emphasis on his big band and it was about jazz – these guys loved jazz, you know. They were Latin bandleaders who had profound respect for jazz." WE – Cool - this is lovely setting for the picture. AO – I think so too, with the mirror and the red curtains. WE – There’s going to be two of you Arturo! AO – I love it - it’s two too many – but yeah! “It’s two too many!” - that’s what my wife would say! Of course I don’t agree – there’s not enough of me – God knows my time is squeezed like crazy. We’ve been doing great work with The Afro Latin Jazz Orchestra; this is in my opinion the best Afro-Cuban, Afro-Latin big bands in existence. We started this orchestra as part of Jazz at Lincoln Centre, we were there for five years and ventured out to create our own organisation and we’ve done incredibly well since then. We’ve created our own non-profit work, our education work, we’ve toured, won Grammys, been nominated for for Grammys. We’ve actually superseded anything we would have been allowed to execute under Wynton’s aegis. So it’s been amazing, we’ve just recorded out fourth CD which is called ‘The Offence of the Drum’ and it’s all about how the drum is the tool – like the internet - that both oppresses us and enslaves us and sets us free and liberates us – to be redundant! It’s literally about how the drum is an incredibly powerful tool and how it has shaped all of our lives in incredible ways. Tonight we’ll be playing a piece of mine called ‘Malecón and Bourbon’ which is an imaginary intersection, The Malecón is of course the famous street in Cuba - the intersection of Bourbon Street in New Orleans and The Malecón and it’s a place where we really discover the roots of jazz and the roots of latin are the same and not one is hierarchically above the other – they’re part and parcel of the same reality. Somehow we got those two artificially separated. At the end of the piece we play a kind of ragtime piece and start deconstructing it – it’s a jazz history lesson backwards. From Cecil Taylor working our way back to Scott Joplin. We end up with Scott Joplin, but the thing about Scott Joplin is that it’s quite right (in the context) and so we just try to get the right edge to it and all of a sudden that is wildly latin – it’s a really cool piece. But then if you’re not going to be a fan of your own music – who is going to be a fan of your music? Though my kids like my music so it’s not all bad!" Arturo O'Farrill: Birdland, New York City, 29th April, 2013 Machito: Kenya released 1958 Arturo O'Farrill https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_f2a6cl_BILL-ADLERwb_-William-Ellis.jpg Bill Adler: Journalist, Publicist, Arts Curator MILES DAVIS: KIND OF BLUE "I've listened deeply to music all my life and there seems to me to be something unique about Kind of Blue. Of course, it's jazz - and I'm a jazz lover - but the appeal of this recording has transcended category from the moment it was released in 1959. It beguiled me in my teens and it still knocks me out 40 years later. It is perfect from first minute to last and it may well turn out to be immortal." Bill Adler: At home, New York City, 3rd April 2014 Miles Davis: Kind Of Blue released 1959 Bill Adler: Interview https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_ah3kp5_BOB_GEORGE_W__William_Ellis.jpg Bob George:Director, ARChive of Contemprary Music BRIAN ENO: TAKING TIGER MOUNTAIN (BY STRATEGY) Bob George: ARCchive of Contemporary Music, New York City, 1st May, 2013 "Here’s the problem: how do you pick a record when you have more than 2 million? People always ask us what is my favourite record and things like that and it’s always like… stupid. I just say that well, there are certain records at certain times that I played over and over and over again. And that would be like when I was playing football in high school. It was like one summer it was Revolver and I played it just endlessly. In terms of picking one that was like a favourite, it was this - Brian Eno Taking Tiger Mountain (By Strategy) but it’s a toss-up between that and one by Anna Domino called East and West. I wanted to pick Anna because she is more obscure and really fantastic but this record, I think, is also an important recording because I think it shows the way that music would move in the future. More than, if you wanted to say something radical like, you know, The Beatles are completely unimportant in terms of the future of music, which of course is absurd and true. That perhaps they are a tautology; they finished what they did, they started something, they finished it, starts off as pop songs that are well-crafted and ends up enormous, incredible studio techniques with George Martin. And yet, when I think about the way music has gone since that time, I think of a little bit later someone like Eno building upon that and really determining what dance music would sound like and what pop music would sound like. So though I am completely opposed to the way he looks and the glam world that he comes out of, this record is so powerful, the beats are so strong and so insistent and the wording quite clever that this is really sort of a record I played over and over and over again ." Bob George: ARCchive of Contemporary Music, New York City, 1st May, 2013 Brian Eno: Taking Tiger Mountain (By Strategy) released 1974 ARChive of Contemporary Music https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_d1v03v_BOB_GRUEN_WBWilliam_Ellis.jpg Bob Gruen: Photographer ROCK AND ROLL VOLUME 1 “I have a lot of favourites you know, in fact when I was asked to make a top ten album list I came up with twenty five! Like 1A, 1B, 1C – I can’t pin it down to ten! This is one of the first albums I ever bought, it’s actually a French record from a French jazz concert when rock ‘n’ roll was just beginning. It doesn’t have any vocals, it has saxophone leads. I’d play it to you except that my turntable’s broken right now. It’s just got this kind of classic 50’s - sneakers, bobby soxer the white bucks - and this is where it all began and all the rest of the other records come out of this one – so I thought we’ll just start at the beginning and that way I’m not pinned down to any band or artists – it’s all just rock ‘n’ roll to me.” Bob Gruen: Westbeth Centre for the Arts, New York City, 30th April, 2013 Rock and Roll: Volume 1 Bob Gruen https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_n87q24_Annie_Rosswf___William_Ellis.jpg Annie Ross : Musician BILLIE HOLIDAY: LADY IN SATIN "She was my hero, she was my mentor, she was my idol. I got to know her very very well and I was very proud that I did, because she was a real buddy of mine. I think there's a whole life in this voice for her to sing the songs that she sings - I mean you could cry listening to her and I just think she was like a beautiful ebony statue. Great songs." Annie Ross: At home, New York City, May 2013 Billie Holiday: Lady in Satin 1958 Annie Ross https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_izpy61_BRAD_STUBBS_OLPW__WELLIS.jpg Brad Stubbs: Musician STAN GETZ/ JOÃ¥O GILBERTO: GETZ/GIBERTO Brad Stubbs: At home, West Hollywood CA, 12th May, 2013 "I chose Getz/Gilberto with Stan Getz and João Gilberto, which was my entry into jazz - I didn’t even know it was jazz - and I loved it so much and it’s just an album that I have just bought over and over and over again and I listen to it all the time. I listen to it when I’m kissing my wife, when I’m making love. Everything was built on this album, after I heard this, then I fell in love with Sting, I fell in love with Michael Franks, I fell in love with Sade. I’m a writer and I write stuff like that, that sort of same beautiful…it’s jazz, but it’s beautiful. And jazz isn’t always beautiful to some people when you listen to Coltrane or something when he’s gettin’ all crazy in the 60s, but this is beautiful, you know. And I loved it so much and anyway that’s why I picked this album. But I have so many copies of it and I just keep buying it. If I saw it today at [???] I’d probably pick it up again and I’d go, Oh wait a second, I already have this. I don’t care! So that’s my story on that. Stan Getz though, something interesting about him, he got a lot of flak for this album, you know, and it’s happened to a lot of artists since then. You know, that’s not real jazz, it’s beautiful but if you look at this album it’s still in the top ten of jazz songs. This, Miles Davis Kind of Blue, Take Five – those are the top ten songs. And I look at people like Brian Wilson from The Beach Boys, he got a lot of flak and it hurt him and it drove him crazy and he neglected his music. It happened to Sly Stone from Sly and the Family Stone. The black community gave him a hard time because he was writing these positive songs and Norah Jones, another one – I love Norah Jones – but she got a lot of flak for this music but you know what? Those are the records that are going to last and last and last and it was almost a tragedy that Stan Getz couldn’t embrace this, you know, for longer because you know his peers were judging him – it “wasn’t real jazz” but to me it was the best stuff that Stan Getz ever did. And of course Jobim, oh what a great writer! One of the greatest writers since Beethoven, in my mind. You know, he does such interesting things with music, that I can spend years just analysing his songs and the way he writes, because he’s otherworldly. And anyway, that’s why I love Getz/Gilberto." [laughs] Brad Stubbs: At home, West Hollywood CA, 12th May, 2013 Stan Getz, Joåo Gilberto: Getz/Gilberto released 1964 Featuring Antonio Carlos Jobim and Astrud Gilberto Brad Stubbs https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_7oaclp_Christian_S9627__William_Ellis.jpg Christian Scott: Musician CLIFFORD BROWN: THE BEGINNING AND THE END “I choose a Clifford Brown album called The Beginning and the End it chronicles this guys experience from the beginning of his musical career until a recording the day before he actually died. It’s strange because when I first got the record I didn’t really know what the record was about or why they put it together I just remember hearing this amazing this amazing trumpeter and trying to mimic his version of "Donna Lee", and I can remember at the end of the song hear him speak to the audience – and even as a little kid feeling that this guy had a lot of heart and was compassionate – through his voice – you know what I mean? He sort of says a farewell to the world and I had no idea that’s what actually was happening you know. So when I got a little bit older and I realised what was going on it made me want go back and re investigate it when I was a much better trumpeter and I realised he was playing some pretty impossible things on the instrument when in essence he was a baby - this guy passed away in his early twenties. There’s stuff that this guy did with the instrument that many fifty year old trumpet players would never attempt and this guy did it sixty years ago. It’s scary to think about it. The thing I love so much about Clifford Brown - in addition to his trumpet playing being so refined and so perfect, you could just always tell he was playing with sincerity and love in his heart, that’s a model that I’ve tried to keep going. Lots of guys - they look at some of my song titles and titles of the albums, some of the music is about social issues and things of that nature and they’re kind of charged sometimes – they say ‘oh well this guy’s angry’ - but if they only knew I actually was playing the music from a stance of love. I don’t want this (social issues) to affect my kids - I’m just trying to take that model and apply it to the time period that I inherited.” Christian Scott: Band on the Wall, Manchester, November 2010 Clifford Brown : The Beginning and the End- released 1973 Christian Scott https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_afgt0z_DAVID-BYRDwb_-William-Ellis.jpg David Edward Byrd: Graphic/Poster Artist ORIGINAL BROADWAY CAST: FOLLIES "Well, I was a struggling graphic artist and I got this job for this new Stephen Sondheim musical, Follies. And I called up the ad agency that was handling the art and said, ‘This is David Byrd, I’m an artist, and could I present a sketch?’ And they said, ‘Oh no, we’ve paid all the sketch artists. We only have a budget for 14.’ And I said, ‘Well, how about if I do it for free?’ And they said, ‘Oh, well, we love free!’ So I did a sketch and oddly enough it was chosen, much to my total surprise. I just wanged it out and did it, you know? And it became kind of a legendary show that was very large. It had a cast of 48 and huge sets and it was about the end of an era, about the end of the Ziegfeld era, really. Those girls and those... They were plotless. They had vaudeville acts between... They had six-foot girls walking around in glamorous costumes. And, ironically, the show opened on the night of my 30th birthday - it’s an album I always revisit and I’ve done four different productions in different places. So I’ve done four different versions of this. I did a profile. You know, I’ve just done every possible idea I could get from that original idea of the Follies girl with the title being her head dress and the crack symbolising the end of an era. It’s a metaphor. So that’s kind of it." WE: Would you say that that album represents as much to you musically? Or would you say that there are any other bands or ensembles or records that musically really speak to you very deeply? DB: "I like this show particularly because it’s a pastiche that’s extremely eclectic. So it represents every possible type of music pre-1940. And I was born before Pearl Harbour. So I know everything from Victoriana, Ragtime, Operetta, Big Band Jazz, little band jazz. And popular music, Gershwin. I mean, it’s all in this show." WE: So it gathers all the strands of your own taste in music, I guess. DB: Yes, and even though I did many rock posters, as I’ve grown older, I listen more to Billie Holiday and Louis Armstrong and Ella Fitzgerald and Chris Connor and people like that than I do rock music. And I don’t know why that is. That’s just it. Though there are some new bands that I think are pretty sensational. And one of my favourite guys was Lou Reed who we just lost recently - and Leonard Cohen." David Edward Byrd at home Silver Lake, Los Angeles, 13th April 2014 David Edward Byrd: At home Silver Lake City, Los Angeles, 13th April 2014 Original Broadway Cast: Follies David Edward Byrd https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_a94l7d_EDWARD_COLVER_OLPw__WELLIS.jpg Edward Colver: Photographer KARLHENIZ STOCKHAUSEN: HYMNEN "Karlheinz Stockhausen’s Hymnen that was composed in about 1966/67. It’s a German import pressing of that album. WE: What’s the thing about it that’s made it outstanding for you? EC: Well, it’s avant-garde electronic composition which has been some of the music I have liked ever since I was a teenager. I heard his music and John Cage and some other contemporary classical composers in the late ‘60s and it totally changed my life and I kind of pursued that genre type of music ever since then." Edward Colver: At home, Highland Park, Los Angeles CA, 6th May, 2013 Karlheinz Stockhausen: Hymnen composed 1966-67 Edward Colver https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_gb2bm8_ERWIN_HELFERwb__WELLIS.jpg Erwin Helfer: Musician THELONIOUS MONK: PLAYS DUKE ELLINGTON "It’s the best playing of Duke Ellington I ever heard in my life. It’s really beautiful. You can hear him humming on “Sophisticated Lady” in the background and it’s heart wrenching - it’s so beautiful. On something like “I’ve Got It Bad and That Ain’t Good” he starts off with some real slow playing of it in free time just by himself and then the band pulls it in after he plays the first verse and it feels like somebody’s just taking a romp through the park on a warm summer day. And then “Caravan”, which has that Latin beat to it, he just really grooves on it and leaves a couple of measures out and then comes back in. And those measures he leaves out are so important and so strong – he just did the right thing all the time – he was totally intuitive. He’s a real hero. You see, I don’t play that kind of music; I come from the slow blues of Jimmy Yancey . I accompanied Jimmy’s wife, Mama Yancey, after he died. I learned on the streets first and then I took a couple of degrees in music later. I love classical music but it kicks my ass in so badly when I try to play it so I memorise stuff. So I am more wired to play improvised music so this is the kind of stuff I play- but I don’t play like Monk but I just love what he plays. Most of the stuff I love is what I can’t do!" [laughs]. Erwin Helfer: Katerina's, Chicago, 14th May, 2013 Thelonious Monk: Thelonious Monk Plays Duke Ellington released 1955 Erwin Helfer https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_0ec9t2_Greg_Carroll_KCw___William_Ellis.jpg Greg Carroll: Musician, CEO American Jazz Museum MODERN JAZZ QUARTET: PYRAMID "My One LP is Pyramid - first because Mllt Jackson is the quintessential vibraphonist - he plays the most unbelievably beautiful version of Django I've ever heard. When I first heard that record I fell in love with his playing - it was of my first records where I ever heard Bags play. I immediately fell in love with it and I immediately tried to emulate his playing, that's when I was beginning to play vibes and I said "I'm going to learn every note this man's playing." Still to this day I haven't done it because every note that he plays is so carefully crafted and it's hard to recapture that - it's a pyramid – a pinnacle and I think it really represents the Modern Jazz Quartet." Greg Carroll, Aladdin Hotel, Kansas City MO. May 2013 Greg Carroll Modern Jazz Quartet: Pyramid 1959 - 1960 American Jazz Museum https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_tv9h2l_GPorterv1___w1LP__WEllis.jpg Gregory Porter: Musician DONNY HATHAWAY: LIVE “The ‘Donny Hathaway Live’ album is so special because it captures - with full concentration the thing that’s special in live performance. That communication, that exchange of audience and artist. There’s back and forth conversation, the women and the men in the audience are screaming things back to Donny and Donny’s of course responding musically - and responding incredibly musically. You can feel the emotion in the room as soon as the needle hits the record. That communication - it’s not just jazz, it’s not just soul, it’s human to human. That exchange between humanity is just beautiful to see. It happens on Donny Hathaway LIve.” Gregory Porter: Band on the Wall, Manchester, 13th June 2012 Donny Hathaway: Live - released 1972 Gregory Porter https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_oyhv8l_Gerald_Trimble_wb___William_Ellis.jpg Gerald Trimble BERT JANSCH: ROSEMARY LANE “It is, and you know how difficult that is for a musicians and the more eclectic the musician the more…you know, I could say so much about so many influences and the music I come from - Celtic music, Indian music - honours the teachers and people before so I don’t want to give a speech if I could about everybody but what I’m going to do is tell you about one record. I have a CD re-issue of it, it’s called Rosemary Lane by Bert Jansch. And Bert Jansch was one of the seminal people in the English folk scene in the early ‘60s. He eventually played in a band with John Renbourne [checked] and Danny Thompson, the great bass player, called Pentangle. This record led me to that, led me to the idea that jazz and eastern fusion and Celtic or British music could all mix. Nobody worried then about boxes. And so when I was 14 years old, I skipped school a lot and my mom worked downtown, right down here, and there was a place called Jenkins Music and they had this record and the cover of it looked so cool and I just had to buy it. It had him playing guitar and open tunings and playing everything from Corelli to old tunes to songs and, you know, it was folk mixed with something different . And so when I was 14, it led to the direction that led me to Britain later , that had me go there and I just learned the music, played in the folk clubs and met many of these people. Bert Jansch died last year [October 2011] and it was a real loss. He had a successful career in spite of heavy alcoholism and was a real influence on a lot of people. And so, Rosemary Lane of all the records I could think of that I could put my hands on and I was sitting downtown where I found it with someone from Britain, it really puts it all together. That’s very important to me… I was going to say that for I for years performed three or four songs off of this record, you know, at different times and on my new record I just recorded a song from this called “Sylvie” or “I Once Had a Sweetheart”. So it’s with me, all the time, and it led me to so much more and I didn’t know what was there. It shows the thread in my life, the connection to my heritage in Britain and yet mixed with that openness that allows us to play different kinds of music and show those connections.” Gerald Trimble: Aladdin Hotel, Kansas City, MO, May 2013 Bert Jansch: Rosemary Lane released 1971 Gerald Trimble https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_ydbn57_GRAHAM_NASH__WELLISw2.jpg Graham Nash: Musician THE BEATLES: SGT. PEPPER'S LONELY HEARTS CLUB BAND The style of this portrait is in homage to Peter Blake and Jann Haworth, co-creators of the legendary album cover - and of course to 'Four Lads Who Shook The World.' "I think a lot of it was the time, you know when Sgt. Pepper’s came out, in my mind it was always a sunny day - even at midnight, so a lot of it was the time the context within when I first heard it. George Martin gave me an advance copy I played it to death of course as everybody else did. The songs are incredible, the journey is incredible from the opening bars to the last bar of 'Day in the Life' . It's a very complete record I feel, it's a very strong statement as a whole of their incredible ability - to be able to write songs that reach people's hearts and souls and that record did it for me. Pet Sounds is a close second of course, that also is a beautiful record but Sgt. Pepper's Lonely Hearts Club Band is it. I remember when the Hollies were recording at Abbey Road I talked to George Martin about it. I said "So what are the boys up to?" He goes "They're recording a new record, it's taking quite a while." "Got a title?" "Yes Its going to be called Sgt. Peppers Lonely Hearts Club Band." and I said - "Joking right!" "He goes - no I'm not joking - that's what they want to call it." Graham Nash: Interviewed at Richard Goodall Gallery, Manchester. Photographed in 2013 The Beatles: Sgt. Pepper's Lonely Hearts Club Band released 1967 Graham Nash https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_0ydd3e_wJack_Bruce__William_Ellis.jpg Jack Bruce: Musician OLIVIER MESSIAEN: L'ASCENSION: (THOMAS TROTTER) "It's called L'ascension by Olivier Messiaen who was a French composer I have loved for most of my life. Why I love his composiitions is he shows that music has always existed. Humans only stole it. We borrowed it - but it's in nature, It holds the universe together, ask any skylark or ask any blackbird they'll tell you." Jack Bruce: Band on the Wall, Manchester, 24th March, 2011 L'ascension was composed in 1932-33 Jack Bruce https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_lvll50_JEANNE_PISANO_W___William_Ellis.jpg Jeanne Pisano: Musician SHIRLEY HORN: HERE'S TO LIFE "I’ve chosen Shirley Horn’s Here’s To Life - Shirley Horn with Strings - it is in my estimation the most beautiful vocal album that's ever been made - maybe any kind of album. Johnny Mandel did the arrangements and they are exquisite. Her phrasing, her voice her understanding of a story and a lyric - they move me to tears every time - I'm just touched beyond words. It's sheer beauty - it’s just sheer beauty from beginning to end and to me it's everything that music is supposed to be. The pace is so slow and yet it never feels long you know - it's like someone takes you by the hand and says 'let's go walk by a beautiful stream - and that's what you do, you take this beautiful slow walk with this woman who knows life inside and out. The depth of her soul comes out and the beauty of her soul and the beauty again of the music comes out - it's just exquisite. I never tire of it - ever." Jeanne Pisano: Hollywood, CA, May 2013 Shirley Horn: Here's To Life 1992 https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_tut9xw_JIMMY_HEATH__William_Ellis.jpg Jimmy Heath 'Little Bird': Musician CHARLIE PARKER WITH STRINGS: SPECIAL EDITION “It was impossible to make a choice! This is Charlie Parker with Strings – a compilation of all the Charlie Parker with Strings – not just the one studio performance there’s some live performances. Someone at The Charlie Parker organisation that used to give the benefits for Charlie Parker - the Foundation that his wife started, made this compilation and they gave them out to some of the sponsors and people who came to support that organisation. There are recordings from the Apollo Theatre and different venues. It’s a unique collection – as you know - it’s Charlie Parker man, Charlie Parker one of the geniuses of our music so - you know I’ve heard people say ‘if you don’t play no Charlie Parker you ain’t playing Jazz!’ Everybody takes a little bit of Charlie Parker in their improvisation.” Jimmy Heath: Langston Hughes Library, Flushing, New York, 30th April, 2013 Charlie Parker with Strings Master Takes, recorded 1947 - 1952 Jimmy Heath https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_2qh0eu_Johnny_Marr_w1LP___William_Ellis.jpg Johnny Marr: Musician IGGY POP AND THE STOOGES: RAW POWER “It's 'Raw Power' by Iggy and the Stooges it came out in 1973. I heard about it in 1978 I think when I was about fourteen – fifteen. A bunch of friends that I used to hang out with who were all guitar players at various levels, were a bit older than me, I used to play around at friends houses and one guy said I should check this out because it reminded him of the way I was playing at the time, so that intrigued me. This name Raw Power kept coming up again and again. So I got on the bus and went into town to buy it, which was a big deal because I was only a kid and I didn't really have that much money. When I actually pulled the sleeve out of the rack I just could not believe it – I mean - the power of that image hasn't diminished anyway. Just the sleeve alone promises quite a lot and I couldn’t really imagine what I was gonna be getting into. On the bus all the way home I was just kind of stunned by these images, these Mick Rock pictures. So I was already hooked before I'd even played it really because the sleeve alone - well for a start it does what the music does. It’s got the promise of some kind of shadowy other world - which if you live in the suburbs as a teenage kid looking for something interesting it's really quite alluring I think. I couldn't believe the music - I still absolutely love it and listen to it often. The thing about it is a lot of people assume that Iggy Pop particularly and the Stooges were just about ramshackle random attitude - there is plenty of attitude behind it but the amazing thing about it is that is very very deliberate, it's almost intellectual - that was something I didn't really understand at the time. I think a lot of people still don't realise that about Iggy Pop and James Williamson, who is the guitar player - and who is actually my favourite guitar player because of this record - that there's a real agenda. It's not just people putting their heads down and being messy – yeah it's got alot of attitude and it’s got a lot of raw noise manifesto in it but it's very deliberate and the words are pure street poetry I think - “Search and Destroy” particularly. ”I Need Somebody”, “Penetration”. So it's about sex, it's about drugs and it's about an alternative subterranean world I think. Which are all amazing things particularly for a teenager or someone who’s looking for something outside of the culture but it doesn't really last unless the people making it actually live it. You can have all those things sort of things hung around the iconography around the sleeve and the titles - this idea of sex and drugs and subterenea - but the thing is with these guys they were actually really living it. I think it's very beautiful as well, tracks like “I Need Somebody” has this kind of burlesque bordello folk music aspect to it. Almost like 20's or 30's prohibition American folk that is about illicit things. It’s about sex really and it has that in the music and its matched perfectly by the vocal delivery - so again in Iggy Pop you've got a very young livewire poet who read Time magazine and Newsweek because he wanted to - as I understand – because he wanted to know what the enemy was doing and wrote his lyrics accordingly. He's not just someone who's trying to cop an attitude, he's someone who really understands that he's living in the shadows kind of thing and it’s just this kind of other worldly kind of promise he delivers. Aside from all of that its got killer rock 'n' roll riffs - really killing riffs. I'm often asked who's my biggest influence or who's my favourite guitar player and all that, and I've always been able to say James Williamson. I don't really play like him other than if I go back to where I started with this story. The start of this song on there called “Gimme Danger” is this very haunting arpeggio acoustic thing and that's where this friend of mine put the connection between me and this record together because it does like sound the way I was learning to play. I think often with things that you connect with on an artistic level, so in my case records. There's two ways you can do it - one is that you admire something and that's fine - that you admire a record or you admire a painting - but often I think it's because the artist is capturing something that you understand - a feeling that you understand, so even if you’re looking at or listening to something abstract there’s a little lightning bolt of recognition in there. I think that’s what makes artists great because it’s an unquantifiable almost subconscious thing for many humans who dare to kind of peek around the regular third dimension. You might sitting on a bus or in your car or on the way to school or at the back of the classroom or wherever it may be. Perhaps when you go sleep at night and you have this thing in your consciousness or subconscious and we don’t really pay attention to them until they come out in a colour or a riff or they come out in a lyric I think music and painting does it better - particularly abstract painting does it better (than a lyric) because language immediately by definition quantifies things and what I’m talking about is this extrasensory aspect - and all the greatest music that hooked me as a kid did that - it’s like the promise of a different world that you weren’t living in but at the same time you recognised it - it was familiar. I can’t ever disassociate this record from all those things because it was so powerful to me. So even if I wasn’t in the mood to listen rock ‘n’ roll music I would always have that massive connection with this record because it really sums up a big period of my life that seemed to be constantly strewn in sodium light that was coming through the windows of my bedroom in my parents council house you know. I’d turn all the lights off and there was one of those big yellow street lights outside the window that would seep through the room from late September till spring really, so it seemed like an eternity as a 15 year old and I would just listen to that record and play along with it. I understood it without having to analyse it – “I’m a street walking cheater with a heart full of napalm” is the opening lyric.” Johnny Marr: Richard Goodall Gallery, Northern Quarter, Manchester, 23rd February 2011 Raw Power released 1973 Iggy Pop Johnny Marr Johnny Marr talks about his One LP Raw Power towards of the interview at the BBC in the FX section. https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_cf0i4y_JURGEN-SCHADEBURG_W_WELLIS.jpg Jürgen Schadeberg: Photographer and filmmaker LENNY BRUCE: BUSTED! LIVE 1962 "In the seventies it was very popular among friends of ours to listen to American comedians.There were quite a number of them. There was Victor Borges and many others whose name I don't remember but we did spend lots of time listening to these records. Then I suddenly discovered Lenny Bruce . Lenny Bruce was more aggressive,was very political and very tough. He was really an anarchist in a way. I was very impressed by his work especially from a political point of view. At that time there was a need for that sort of aggression and criticism of society. Among the establishment he became terribly unpopular because of his criticism of society and (way of) life itself. To some degree it relates to the situation I came across in South Africa, but in general I saw it as a worldwide criticism of the establishment." Jürgen spoke later about what he considers to be his most important photographs - those he took of Nelson Mandela on his return to his cell on Robben Island where he had been held for seventeen years. "As I watched (Mr.Mandela) and took a few frames I suddenly realised 'what goes through this man's brain now - seventeen years being stuck in this little place?' Looking out of that window, what does he see looking out of that window? And then I said 'thank you very much' and he turned around and he gave me a little smile, it wasn't his normal smile - it was his coming out of deep thought and contemplation of sorrow passed and so on. It was very personal. I think that was my most important two pictures, him looking out and turning around and having that little smile. That was a very different smile from his natural smile." Jürgen Schadeberg: Belgravia Gallery, London, 23rd June 2014 Lenny Bruce: Busted! Live 1962 Jürgen Schadeberg https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_okankv_LYNN_GOLDSMITH_WB__William_Ellis.jpg Lynn Goldsmith: Photographer LITTLE RICHARD: HERE'S LITTLE RICHARD “It’s Here’s Little Richard’ and the reason it’s so special to me is because when I lived in Detroit I was about eight years old and I had a doll’s house made out of tin and this song came on called Long Tall Sally and I’ll never forget that moment in my life because I started running in circles around the doll house. Something like snapped inside of me and I kept running and running in circles and circles until I actually ran into the doll house and I cut my lip and had to have stitches, I have a tiny little scar here. I just freaked out about Little Richard and I made my mother get me this single Long Tall Sally, when I played it I started running circles around the house – it my reaction to Elvis was one of love but Little Richard set something off in my being and when I was nine they realeased this album ‘Here’s Little Richard’ and I never had an album, I’d only had singles and I only had a record player that played singles but I loved Little Richard so much – and my mother was a working mother so to buy a long playing record player was an extravagance for us. But she knew how much Little Richard and Long Tall Sally (laughs) meant to me so she got that record player and I used to put it on and just go crazy – crazy in front of the mirror dancing, holding onto the door knob and dancing , doing this dance that I called ‘The Chicken’ and that was really the beginning of Rock ‘ n’ Roll for me. WE: “To continue a little, I guess that’s what lead to your whole love of music and largely shaped a lot of the things you’ve done do you think?” LG: “No I think that my parents divorced when I was just about four years old and it was music whether it was the music my mother had you know – the Andrew Sisters, Rosemary Clooney – the songs that I would sing at camp with the councillor – there were so many moments where music was my conective tissue to love. So I feel that this kind of universal language that the music speaks – because you don’t have to know what the words mean – I still don’t know – excuse me - what the ‘bleep’ Bob Dylan saying! - But it gets to me. So Little Richard was only an extension into how my body could feel music - could actually do to set me into a tizzy. My mother thought I’d gone nuts! It tripped – I thought – this is freedom!” Lynn Goldsmith: ARChive of Contemporary Music, New York City, 29th April, 2013 Little Richard: Here's Little Richard released 1957 Lynn Goldsmith https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_l0bjev_Lonnie_L_Smith__William_Ellis_w.jpg Lonnie Liston Smith: Musician CHARLIE PARKER WITH STRINGS: APRIL IN PARIS "This is fantastic because…the first thing, you know, my father was in gospel music so we always grew up in that and then, you know, the church music and then we started playing, I guess back then we’d call it rhythm and blues or doo-wop. But then one day I was over at somebody’s house and I heard Charlie Parker playing “Just Friends” and he was just flying through the air on his beautiful music and I say “What is that?!” and they say “That’s jazz and he’s on improvisation” and I said “Wow! I’ve gotta learn how to do that” and that was the beginning of it." Lonnie Liston Smith: Richard Goodall Gallery, Manchester, 7th October 2010 Charlie Parker with Strings: 1949,1950 Lonnie Liston Smith https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_4f7ecd_Marcus_Miller_w___William_Ellis.jpg Marcus MIller: Musician MILES DAVIS: MILESTONES “Miles at his height in the 50's before jazz took another turn - this album, along with the other Miles' of this period was really at the height of the elegant era of jazz: Then it went somewhere else that was equally amazing. But I really love how the combination of soulfulness and intelligence that these guys played with - 'Trane and Red Garland, Paul Chambers, Philly Joe, Cannonball and Miles - just an unbelievable group and this record is just - Philly Joe - Paul Chambers - they're just killin’ on this record." Marcus Miller: Band on the Wall, Manchester, November 2011 Miles Davis: Milestones 1958 Marcus Miller https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_z8r7gp_MORGAN_HOWELLw__William_Ellis.jpg Morgan Howell: Artist THE JAM: SETTING SONS “It’s Setting Sons by the Jam which came out in 1979. I was fourteen and I remember the whole Mod thing coming in. I used to work on the market with my Dad – my Dad’s an artist as well, and we’d sell his paintings from a market stall in St Albans where I was, in inverted commas ‘working’ for him for some pocket money! I remember the earlier Jam stuff but I think this album has got some great great songs on it. It’s notionally about three friends before the war knocking about on the bomb sites and what have you - then actually going into battle - you never know what war it is. They’re all beautifully written songs - really catchy - quite difficult to play. I was in a band at the time - we never actually worked out how to play many of them. It actually ends with the only poor song on the album which is Heatwave by Martha Reeves and the Vandellas. Now, we played Heatwave in my band and one of the first paintings that I produced – I paint giant facsimiles of 45s, was Heatwave by Martha Reeves and the Vandellas. We used to play the 45 over and over and over again to try and work out what the words were and wore the bloody thing out! We never figured it out so we just used to sing the one verse over and over again. That was the first painting I did because that song meant so much to me. At the age of fourteen my big sister Melanie - who’s ten years older than me said “well look if you're a Mod and you’re into The Jam and all the rest of it” - and then she showed me all her 45s – “you'd love Tamla Motown, Stax and The Yardbirds and The Small Faces.” And suddenly I’d found this fantastic collection of sixties music, and as a sort skinny spotty little fourteen year old kid it made me quite cool amongst my peers. It meant I could stand up straight and have the sort of cocky attitude I’ve had for the rest of my life really! So when i was searching for something to do as an artist, thinking back, it was that moment that sort of defined my life really and a lot of the songs I listened to then have made me the way that I am. The friends you meet, the way you dress it all started then so this album just came on the cusp of that before i discovered all this other stuff - which of course Paul Weller was influenced by – but I didn't know that at the time. So although i was into all sorts of other music, jazz – I play guitar – not particularly well but I play the guitar and lots of the albums on my shortlist are great guitarists like Brian Setzer from the Stray Cats, I’ve got a beautiful album, a George Benson album callled Summertime. That and this one were vying - but really it had to be this one because it’s the one I played over and over and over again and all the songs came back to me.” Morgan Howell: Richard Goodall Gallery, Manchester, 7th December, 2013 The Jam: Setting Sons released 1979 Morgan Howell https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_80taqm_MARCO_OLIVARI_wb__WEllis.jpg Marco Olivari: Manager Blue Note, New York THE RAMONES: RAMONES "I picked The Ramones debut record. I stumbled upon it later in my life - maybe around 30 - as opposed to so many people who come across punk rock and rock 'n' roll so much earlier. That album to me just summed it all up and I thought it so applicable to any other genres in terms of integrity - I find it so interesting how many people in other genres go to that album - and that band as a definition of individuality, personality - groundbreaking. I just think that any great movement or genre has someone who has a different voice that they remain true to." Marco Olivari: Blue Note, New York, 10th February, 2014 The Ramones: Ramones released 1976 Blue Note: New York https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_fud727_MARY-SCOTT_wb_WELLIS.jpg Mary Scott: Musicians Agent RONNIE SCOTT / SONNY STITT: LIVE AT RONNIE SCOTT'S Full title - The Night Has A Thousand Eyes "Well, it’s a recording of Ronnie and Sonny Stitt that was done in 1965 in the old place in Gerrard Street. And it was a spontaneous union. They were having quite an argument in the office at the back of the club prior to Sonny going onstage. It was a musical dispute. And it was time for Sonny to go on the stand, so he turned around to Ronnie and said, ‘You wanna take it on the bandstand?’ And Ronnie said, ‘Absolutely!’ And the two of them stormed onto the bandstand and what ensued after that was one of the most electrifying evenings that any of us had heard probably ever, because of course they were nuts mad at each other and they were trying to outdo the other and it was amazing. The whole evening was absolutely incredible. And the irony is none of us realised it was being recorded, we were so wrapped up in the music. And I remember saying to Ronnie afterwards, ‘If ever there was a night that should have been recorded, this was it! It’s an absolute sin that this...(laughs)...isn’t there for people to listen to. ‘ And we were lucky. It was recorded. And it was a memorable evening that I don’t think anyone who was there will ever forget. And the other extraordinary thing is that when this was released, actually after Ronnie had passed away, cos of course the 50 years thing had gone by... But Valerie Wilmer was there that night and she took the photograph that was...is...on the cover of the CD. It never was an LP cos it wasn’t released during the time when it would have been an LP. And the picture is completely remarkable because she captured Ronnie playing some quite exquisite changes and Sonny Stitt looking at his fingering and looking completely mystified and perturbed which was such a wonderful summary of what actually was happening that night. So that’s... It’s my favourite CD. Clearly, I was mesmerised when it came out and very grateful that it had been recorded." Mary Scott: Hotel Pennsylvania, New York Cit, 3rd April 2014 Ronnie Scott and Sonny Stitt: The Night Has A Thousand Eyes recorded at Ronnie Scott's, Gerrard Street Released 1997 Mary Scott Global Music https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_m9v6og_Michael_League-web_2.jpg Michael League: Musician DON BLACKMAN: DON BLACKMAN It is special for a couple of reasons. When I was asked to pick my favourite record I sat at dinner – Mike Chadwick told me about it – and I sat at dinner for about an hour trying to think of it and I couldn’t come up with anything - like my singularly favourite record. So I decided to pick like a record that was one of my favourite somethings. So this is my favourite bass record, actually, as a bass player. I think every track, the bass playing and the key bass playing to me is like absolutely perfect, like everything that I ever have wanted to be as a bass player, you know is on this record, both key bass and electric bass. The other reason why it is special to me because this dude is the mentor of my mentor, Bernard Wright. So Bernard is the guy who kind of totally shaped the way that I think about music and play and Don Blackman was Bernard’s mentor, growing up together in Jamaica, Queens. So I feel that there is kind of like, you know, maybe a little bit of that kind of lineage sentimentality, I guess, you know, about it but yeah absolutely, just an incredible record from back to front - you got it! Michael League: Band on the Wall, Manchester, July 2013 Don Blackman: Don Blackman 1982 Michael League: Bandleader Snarky Puppy https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_7149kc_Ruth-Price_wbla_WELLIS.jpg Ruth Price PEGGY LEE: MIRRORS Ruth Price is Founder and Artistic Director of the Jazz Bakery in Los Angeles. "I think I respect this album more than any other, it's called Peggy Lee Mirrors - it was done a while back I don't know exactly when - not recently that's for sure! When you think of Leiber and Stoller you think of Yakety Yak - really famous songs, the only song on this album anyone would know would be Is That All There Is? - which sounds really Brechtian. These are trunk songs that nobody ever heard - they're wonderful. Johnny Mandel did the orchestration - it's the perfect marriage. If I had done this album I would consider my life well spent, I really do respect it - it's gorgeous. But I have a lot of singers I love - and a lot of musicians I love." Ruth Price: At home, Beverly Hills CA. April 2014 Peggy Lee: Mirrors released 1975 Ruth Price The Jazz Bakery https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_8xpydq_NEIL_ANCLIFFE_OLP_w__WELLIS.jpg Neil Antcliff: Artist LOU REED: TRANSFORMER "Well, it’s Lou Reed’s Transformer. It could have been any number of LPs, if I’m honest. It’s a really difficult question, is I think the first thing that I’d say. But the first one that popped in my head was Velvet Underground Loaded just because that was a really significant album for me. Probably, around 13/14 years old when I first got onto that tip and obviously then Lou Reed stemmed directly from that. Inappropriately appropriate this week with Lou Reed having died a couple of days ago but Transformer has always been a really significant album for me as well primarily because it filled a lot of gaps for me. I was into quite indie alternative music at that time, sort of the prequel to grunge and stuff like that and yeah, I think Lou Reed filled a lot of gaps in terms of that proto-punk sort of style and yeah, I think it just had a different vibe for me. It kind of just felt really different when I first listened to it even though it was way after that I obviously discovered it. I wasn’t there at the onset but I was definitely interested in a lot of stuff that he was talking about and sort of paring music back. It was the first time that I had appreciated that paring back of music and simplifying, which was then adopted more by punk aesthetic. This album particularly, I think you can hear that with a range of different sounds on the album as well. Some of the tracks are real proto-punk sort of sounding tracks and then others are melodic almost pop, do you know what I mean? That pop track sort of sound to it. But it is something that this and Loaded by Velvet Underground are the records that I return to. Sometimes, not in the most pleasant of times. Sometimes it’s in the darker periods that you’ll return to certain music but yeah, it’s definitely one of the albums I’ll keep going back to, drawn back to, on those rainy days when you need something to put on. This is one of the few albums, I think, that you can listen to all the way through as well. I think that’s a bit more of a rarity these days to actually get albums that you buy for the entirety of the album to listen to but this is still one of them for me, definitely. That’s really significant; if I can put an album on and not feel as if I want to change it that’s always a good sign for me, definitely." Neil Antcliff: Camden Palace Hotel, Cork, 28th October, 2013 Lou Reed: Transformer released 1972 Neil Antcliff https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_nqg7pd_JOLINO-BESSERAwb_WELLIS.jpg Jolino Beserra: Mosaic Artist ELTON JOHN: CAPTAIN FANTASTIC/ & BROWN DIRT COWBOY "Elton John – for me – ran at his peak in the years I was at high school. Madman Across The Water came out around ’71, and he was the first person that I became a fan of and I would spend nights getting tickets. And everything about his craziness was sort of inside me cos I came from a very repressed background and there was just something I could experience. Busting loose, being crazy and creative... And Captain Fantastic was sort of my ‘American Graffiti’ summer. This came out in ’75 and it was a song everybody played. I was the editor of the yearbook and everybody talked about me being the crazy Elton John fan for four years and he’s finally leaving! (laughs) But it was. I was so absorbed and the song ‘Someone Saved My Life Tonight’ always made me think, ‘You can get out.’ You can somehow be different from background that I don’t really want to go into too much, but I really thought I would be trapped in a certain kind of life. And this and getting out of my school and thinking, ‘This is the change in my life to being an adult,’ to making decisions that were gonna get me out of the little town I was in, and what I had to do to make sure I didn’t screw it up. And this is just four years of listening to his music, in particular, amongst others that I really loved, but this one was sort of my anthem. And that’s why when you mentioned an album, I really thought of this summer. 'Cos after this summer, everything was totally different to me, when I got to college and started to become my own person... I met David while I was still in college. And I went from being engaged to be married, to, a few months later, moving in with this character. And I reflected again on this song, ‘Someone Saved My Life Tonight’, and meeting David changed the whole course of my being able to be honest and be the person I was meant to be. So that’s why this album is important to me." Jolino Beserra: At home Silver Lake, Los Angeles, 13th April 2014 Elton John: Captain Fantastic and the Brown Dirt Cowboy released 1975 Jolino Besarra https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_0azxzr_Mike_Stern_wb__William_Ellis.jpg Mike Stern: Musician MILES DAVIS: KIND OF BLUE "Kind of Blue has obviously captured a lot of people hearts, it's a huge success in terms of getting out there and people hearing the music - and for good reason. It just has an amazing an balance of a lot of space and a lot information too. Man - 'Trane and Cannonball play their asses off on it! And of course Bill Evans and Wynton Kelly are both on the record - and Jimmy Cobb - I love getting the chance to play with him - and actually this whole band - this particular band (Four Generations of Miles) with Sonny Fortune and Buster Williams – who are phenomenal musicians and really great people too. And of course Jimmy. Buster was telling me when Paul Chambers died he was called to play in the Wynton Kelly Trio with Jimmy, and then when Kelly died three months later.... I hear a lot of stories now with this band - there's a whole bunch of history these cats run down. But this record just really knocked me out, it's really hard to pick your favourite record - there a million of 'em, and I don't really have a favourite but this is certainly one of the greatest records ever I think and for obvious reasons. And Miles of course just played his heart out all the time - he just played from the heart and everybody on that record did. So they gave amazing performances, amazing amazing beautiful record." Mike Stern: Photographed at Band on the Wall, Manchester, March 2011 Interviewed at Birdland, New York, February 2014 Miles Davis: Kind of Blue released 1959 Mike Stern https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_uml2yx_PAT_MARTINO_wb__WELLIS.jpg Pat Martino: Musician HILDEGARD VON BINGEN: 900 YEARS BY SEQUENTIA "My favourite recorded series of works - it's an extensive collection of beautiful beautiful music that was written in the 11th century. It was written by a woman by the name of Hildegard Von Bingen and the greatest performance of those particular works is by a vocal group called Sequentia. These are Gregorian chants and it's just some of the most beautiful spiritual music you've ever heard." Pat Martino: Band on the Wall, Manchester, 23rd May 2013 Hildegard Von Bingen Sequentia Pat Martino https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_e0tj95_Mum_OLP___w__WELLIS.jpg Peggy Ellis FRANK SINATRA: GREATEST HITS! "It's Frank Sinatra's Greatest hits – Strangers in the Night is my favourite track and It Was a Very Good Year - I like that one and Thats Life -he was verylivelyon That's Life'. I like all of them Bill! He could sing seriously or go jazzy and swing a song.- he could sing any song, a ballad or a lively one and I love the way his tone blended with an orchestra. I like him all over, good entertainer ,everything about him, I thought he was lovely - lovely blue eyes O'l Blue Eyes! He was lovely. Really funny as well – good sense of humour. I just like to listen to him but I've seen a lot of his pictures - though he was a nice dancer too. I remember him with Gene Kelly and Grace Kelly, him and Bing - they were good together. I was in his fan club donkey's years ago, you had to pay a subscription of two shillings or two and six pence – something like that and used to get some information about him now and then – don’t know where all that went though! I liked the way he sat on a tall stool his hat just tipped at an angle when he sang. That's a lovely picture (of him) - he was the best. I loved him in other words!" Mum: At home Woolston, Chehire, 7th December, 2013 Frank Sinatra: Greatest Hits! released 1968 https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_zenvnv_RALPH_WILLIAMSONwb__WEllis.jpg Revd Ralph Williamson: Chaplain Christ Church BOB DYLAN: BLOOD ON THE TRACKS “It's a vinyl lp of Bob Dylan’s Blood on the Tracks which i've had since i was a teenager. As a young man I was very into jazz - inspired by my mother, and listened to a lot of trad jazz recordings. But some friends of mine where into Dylan and we used go round to a friend's house Hugo at lunch time and listen to Blood on the Tracks. It was this that really got me started on quite a long period of enjoying Bob Dylan's singing and song-writing which inspired me not only musically, but also politically really and gave me some sense of the possibility of using the visual arts as a media for bringing about social change and campaigning for the things which we feel are right and important. So it was an eye opening, ear opening and heart opening experience really, listening to Blood on the Tracks. It lead on to me buying a number of his other records and I still enjoy them and listen to them today.” Revd Ralph Williamson: The Great Hall, Christ Church, Oxford, 18th February, 2014 Bob Dylan: Blood on the Tracks released 1975 Revd Ralph J. Williamson Ralph uses his skills as a photographer to help the college and cathedral to support an inspiring educational project for slum children in Delhi called 'Saakshar which he established with Edwin Simpson and John Briggs respectively. Saakshar School Appeal https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_9ls67n_Robert_Glasper_w1LP__William_Ellis.jpg Robert Glasper: Musician SLUM VILLAGE: FANTASTIC ,VOL 2 "The reason this album is special to me is because the producer of the album - J Dilla is my favourite hip hop producer and I got the privilige to actually work with him before he passed away in 2006. To work with him - watch him make music - watch him in ‘the lab’ and see how he works. J Dilla is probably the only producer I know that changed the way musicians actually play their instruments. Normally a producer will just take from the musicians and do their thing - but J Dilla actually changed the way musicians play music. So this particular album Fantastic Volume 2 - when it came out, was to me the first time a record that made people start playing in that hip hop way behind the beat - kind of sloppy hip hop way - all that stuff started with Dilla - you know what I mean. This record has all of my favourite people on it - D'Angelo’s on there - Common - a lot of people on this record. It also means alot because of the time period it came out, and how it influenced the way I play doing my Trio and my Experiment band - just the way we feel the beat, his drum patterns, drum sounds, the way he samples piano and where he decides to put it - it's placement is what makes it just very very special. So I've kind of patterned alot of the stuff - especially when we play J Dilla beats we pattern alot of our stuff around his idea of where the beat is - so I think he was definitely ahead of his time and a genius of his time. So that's why I chose this record.” Robert Glasper: Hilton Garden Inn, Glasgow 28th June 2012 Slum Village Fantastic, Vol. 2 - released 2000 Robert Glasper https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_1x1xod_RON-CARTER_wb_WELLIS.jpg Ron Carter: Musician DVORAK: NEW WORLD SYMPHONY - BERNSTEIN, NY PHIL “My record of import is one I heard in 1962 when I heard the melody played by Yusef Lateef on oboe. I later found out the record he made on this disc was called ‘Going Home’ which is one of the movements from a Dvorak Symphony. So I went out and bought the disc – that would have to be done by Leonard Bernstein and The New York Philharmonic when they do the four movements of the Dvorak New World Symphony - and among these four movements is that melody called Going Home The story is that Antonin Dvorak came to the States - to New York, heard some blues people and went back to his hometown in Europe and wrote this melody – we call it ‘Gong Home’ I’ve since recorded it on a record of mine called Orfeu with Bill Frisell on guitar, Houston Person on saxophone and my working quartet. It’s a great view of a classical melody interpreted by jazz musicians who are always, going home.” Ron Carter: At home New York City, 1st April 2014 Antonin Dvorak: New World Symphony composed 1893 Ron Carter Leonard Bernstein https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_slg52q_SHEILA_JORDAN_wb__William_Ellis.jpg Sheila Jordan: Musician CHARLIE PARKER: NOW'S THE TIME “This is the first jazz recording I ever heard, it’s not even bebop! It’s a rebopper! ‘Charlie Parker’s Reboppers.' There’s a whole story behind this record. Charlie Parker alto, Miles Davis, trumpet, Curley Russell bass and - who’s on piano? Hen Gates that was Dizzy – he couldn’t give his real name – and Max Roach on drums. So it was Curly (Russell), oh my God – can you believe that? So on the other side is "Bille’s Bounce", same personnel. I always sang as a little kid, I never knew what kind of music I wanted to sing and then after I moved back to Detroit to be with my mother and go to high school, there was a jukebox downstairs from my school. I was always playing music there, you know, putting nickels in. So I knew most of the artists and their songs that made them famous – not that I was tired of hearing – but I was looking for something else and I saw this. I saw this and I said ‘Oh – Charlie Parker and His ReBoppers, I wonder what that is?’ So I put my nickel in – four or five notes and I thought – and oh my God, this is the music I’ll dedicate my life to. Whether I sing it, teach it, support it – whatever, it doesn’t matter, I’ll just dedicate my life to that music. I’d finally found the music that I wanted to do where I felt I could get into and really mean it. And I’ll tell you, I got goose bumps when I first heard the first four notes, I was like whoa – it was almost like being elevated you know. That was ‘Now’s The Time’. And the funny thing about this record that’s so beautifully framed now is I was doing a concert maybe two summers ago and there was a wonderful poet on before us, his name is Billy Collins. He recited his poetry and afterwards it was going to be me and Cameron Brown the bass player, that’s a duo I have. I’ve been doing bass and voice since the fifties. I’m the originator of bass and voice – not to brag – but to say hey to singers and bass players ‘you know can do music this way too. And there are people doing it now – which is great. This was an outdoor concert and so we were in this big house where we got dressed, got ready and relaxed until we went on. It was just Billy Collins reciting his poetry and me and Cam. So my friend, (Peter) - this drummer and a wonderful artist, he knows I’m a Bird freak - and he draws birds – all kinds of birds he’s done - they’re beautiful he sends them to me or gives them to me. It was Peter, I said ‘Peter it’s good to see you man’ He said ‘ Yeah I have a present for you – I said really? I said ‘what is it?’ He said ‘yeah open it up’ And so I opened it up – it was this, all framed beautifully. I got so emotional and I thought oh my God - I don’t think I can go up there and sing right now! But I waited a few minutes, I hugged him and kissed him and thanked him. I said ‘Oh my God this is the most wonderful gift I’ve ever been given - except of course the music and my daughter (laughs). So that’s the story of that record!” Sheila Jordan: At home, New York City, 11th February 2014 Charlie Parkers Reboppers - The Koko Sessions by Devon "Doc" Wendell Sheila Jordan https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_eiwuvr_Sonny_FortuneWB__William_Ellis_.jpg Sonny Fortune: Musician SONNY FORTUNE: LAST NIGHT AT SWEET RHYTHM “I have done many live recordings but I have never done a live recording of my own as a band leader and this is on my label which is entitled Sound Reason and that emblem has a significance. As you can see, it’s kind of a play on words because when you look at it, it’s a sun in the background with gold bars in front of it, so - Sonny Fortune [laughs] - the boy ought to be ashamed of himself but I’m not! So, you know, it’s all my compositions and it’s with a band that I feel very, very good about. That was the reason why I recorded it. And it’s, like I said, my first live recording as a band leader.I tell you what - there’s a tune on there that I wrote for someone that I have the highest regard for, is Elvin Jones . There is a tune on there called “The Joneses” and the tune consists of…it’s dedicated - and there were some reviews and people thought that I was talking about the family of Joneses, Thad and Mel, but actually I’m talking about Elvin and his wife Keiko, and she was Japanese and so the composition consists of a Japanese acknowledgement as well as an Elvin Jones acknowledgement and I feel very good about that. Coltrane told me that if I ever got the opportunity to play with Elvin Jones to take it, so I was working with Elvin the night Coltrane died. So I’m kind of locked into where I’m at because of a whole history of events and I should add that my two favourite drummers - last year when the Four Generations of Miles got together I told Jimmy Cobb - I said you ask anybody that’s known me for years and they’ll tell you I tell them that I developed my rhythmical concept from Jimmy Cobb and Elvin Jones, those were the two guys that influenced me the most. So to be working with Jimmy Cobb now is a continuation of when I was working with Elvin Jones.” Sonny Fortune: Harlem, New York City, April, 2013 Sonny Fortune https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_ge6a8s_VERA_RYAN_w__WEllis.jpg Vera Ryan: Art historian, author MARGARET BURKE SHERIDAN: UN BEL DI "I have chosen a re-mastered CD of the singing of Margaret Burke Sheridan who died in 1958. Now, in a way, my reason for selecting her is not that she is my absolutely favourite voice in the world. For example, I perhaps prefer Kathleen Ferrier or, I’m not sure, others. But I identify with her story because she is an Irish singer. She was born in County Mayo and I find this very poignant (and Anne Chambers has written a really beautiful book about her) but she was born a year before my grandmother – she was born in 1889 – and she actually was orphaned by the time she was 11. I think of this little orphan girl being sent up to the nuns in Eccles Street, the Dominican nuns, and Mother Clement, a very famous music teacher, taking her under her wing and somehow Margaret Burke Sheridan’s voice redeeming her whole life as well as giving us a lot of pleasure. I love that story. I should say that I went to Eccles Street myself as a boarder in the ‘60s. I didn’t know about her then so later on when I started to listen to music more carefully I thought oh my god, a beautiful concert hall, which was knocked down to make room for the Mater [Hospital], that beautiful private chapel must have been the places where she sang with Mother Clement. I’m an art historian by profession so these little funny quirky ways of reimagining a creative person intrigue me and I indulge myself in them so when you can retrace some of the parts it’s a pleasure. Her voice is wonderful, absolutely rich, golden voice. She had been a mezzo soprano but she was persuaded to become a soprano and I always think that gives you a sort of richness to the voice, I don’t know. Her debut was in 1918 and all her best roles were with Puccini, I think, and by 1923 Puccini himself was tutoring her. But she’s a very funny person because she loved being Irish. Now I know there was a thing for Irishry, you know, just before and after the First World War but still I think she was very sincerely passionate about her Irish identity. In this re-mastered disc which RTÉ put together – RTÉ in Limerick – they quoted a bit from one of her radio interviews and she talks about her performance in Naples being cancelled because of the death of Terence MacSwiney who was the Lord Mayor of Cork and a great Irish patriot. So she didn’t try and throw off her identity; she celebrated it and the great, great, great conductor Toscanini called her the Empress of Ireland. She only had a 12 year career - she started late and it ended early - and when she came back to Ireland during the Second World War she was very poor and RTÉ Radio apparently would give her something like two and six to come in and do an interview and friends put her up in a flat in Fitzwilliam where the people who owned the Shelbourne Hotel gave her a residence there. But she went around the city, apparently, sometimes wearing her operatic gear and sometimes she would sing to somebody at the bus stop if she started to talk to them about a role. Thomas MacGreevy has a lovely essay in The Capuchin Annual about that. He was a bit embarrassed. She suddenly broke into, maybe Ave Maria I can’t remember what, at the bus stop. Hilton Edwards the great theatre director, founder of The Gate in 1928, he said, “Did you not know the curtain had come down?”. One of the things I am interested in is the way artists become artists and succeed in holding on to their talent. And in one of those RTÉ – Radio Éireann as they were then called – interviews she said it’s not the work you do in the studio that makes you the great artist you are, it’s the communal life of the artist which brings out their creativity. And I am very interested in this idea of the extraneous things to the actual technical perfection being important in the training of an artist and I remember a great artist called Noel Sheridan, the name’s a coincidence I’m sure, and he was the director of the National College of Art and Design and he said “a quarter of the education goes on in the canteen and [he] looked favourably on this” and I like that. So for me it was a beautiful voice combined with a poignant story that I can personally vaguely identify with through her going to school in the same school that I had gone to." Vera Ryan: The River Lee Hotel, Cork, 29th October, 2013 Margaret Burke Sheridan: Un Bel Di compilation released 2008 Margaret Burke Sheridan Vera Ryan https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_2sp26u_VINNY_FODERA__William_Ellis-FW.jpg Vinny Fodera: Luthier THE JIMI HENDRIX EXPERIENCE: ARE YOU EXPERIENCED WE We’re with Mr Vinny Fodera. We’re in Brooklyn, in the Apple. VF: The Big Apple. WE: The Big Apple.! Thanks for that. And so Vinny, what have you chosen very kindly as your one LP, would you tell me why is it so special to you please? VF: I chose Jimi Hendrix’s Are You Experienced [laughs] and I must say it was very difficult to choose only one. But the reason I chose it, although I was actually very profoundly enlightened some years earlier by The Beatles - I was a young tad of a lad - and they sort of opened my mind to music. I chose the Hendrix album because it’s actually more relevant to my professional life. When I first heard Jimi it blew my mind – as I’m sure it did many people – and listening to his playing and his technique made me very aware for the first time of the guitar itself, not only just the guitar - but the songs. I was fascinated at how he achieved the tones and sounds and effects that he did which led me to investigate the guitar itself. I realised that in the hands of a master like him the guitar could be a very powerfully expressive tool. So in a very real way that led me…it actually began a love affair with guitars and basses and gear of all sorts which has culminated in my current career as a luthier so I really sort of owe it in some large measure to that early influence byhim. So, thank you, Jimi! And it’s still a turn-on. I still listen to him and try to play and catch some of what he was doing. Endlessly fascinating -that’s it! Vinnie Fodera: In his workshop, Brooklyn, New York, May 2013 The Jimi Hendrix Experience: Are You Experienced, 1967 Fodera Handmade Bass Guitars https://storage.neonsky.app/651h4emo/images/651h4emo_6idup72a_93kh8x_OLI-ROCKBERGERweb_WELLIS.jpg Oli Rockberger: Musician STING: MERCURY FALLING "I really love this record. When I was growing up in London a few close friends and I discovered it back in our teens, and we used to listen to it together, talk about what the songs meant to us. Whenever I listen to it now it takes me back to that special time in my life and to those precious friendships….amazing how an album can do that isn't it? I find the stories here so rich and engaging in the way they are told through the playing, production and arrangements. The record has been a real source of inspiration to me over the years, and I still get something new from it even after all these years of listening…" Oli Rockberger, Rockwood Music Hall, New York City, 2nd April 2014 Sting: Mercury Falling released 1996 Oli Rockberger https://onelp.com/one-lp---ronnie-scotts-jazz-club 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/images/651h4emo_makk92x3_blpj5t_RONNIES-TEAM15wba.jpg One LP: Ronnie Scott's Jazz Club PRESENTING THE FINEST JAZZ SINCE 1959 Ronnie Scott’s is one of the world’s most famous, renowned and respected music venues. This massively talented music booking team at the sharp-end of programming the iconic club are, of course, dedicated to the music, and to the business of building on a unique heritage and brand that dates back to the year that Miles Davis released ‘Kind of Blue’. Though their roles are diverse, James, Nick, Paul, Sarah and Simon have one big thing in common – a deep passion for music. Each has shared a favourite recording as their ‘One LP’. In the image and text, they offer an insight into an album that they love, and share with us something of what inspires them to do what they do. Ronnie Scott's Jazz Club https://storage.neonsky.app/651h4emo/images/651h4emo_makk92x3_evmzrx_JAMES-PEARSONwb_William-Ellis.jpg James Pearson: Musical Director COUNT BASIE: THE ATOMIC MR. BASIE The album is ‘Atomic Mr Basie’; count Basie and his orchestra. All the arrangements were done by Neal Hefti and it’s one of the most explosive albums. It sums up Count Basie; it sums up the Atomic style. "The album's recorded in an amazing way, the original one I’ve got here, if you turn the right speaker you get to hear the rhythm section and if you turn the other speaker you just get to hear the band. So you can really get inside it. Count Basie himself playing on this, Kid from Red Bank, is one of the most brilliant pieces and the arrangements are stunning. It’s a great jazz album." James Pearson: Ronnie Scott's, London, 5th February 2015 Count Basie: The Atomic Mr. Basie released 1958 https://storage.neonsky.app/651h4emo/images/651h4emo_makk92x3_b37vfv_NICK-LEWISwb_William-Ellis.jpg Nick Lewis: Operations Manager D'ANGELO: VOODOO :I’ve brought along the album ‘Voodoo’ by D’Angelo; funnily enough it was 15 years old yesterday. It’s just an album that I think completely reinvented R & B. I’m not really that big a fan of R & B but I think what he did was bring so many different elements of jazz, funk, soul, even hip-hop. It’s really informed my musical tastes going forward into all those different types of genres. I think he just worked with the best musicians; the tracks are amazing. He worked with guys like Pino Palladino, Roy Hargrove, Questlove and Charlie Hunter, people like that. I think it’s a special album, one that I keep coming back to and listening over and over again. You always find different things in it, so it definitely is a very special album for me." Nick Lewis: Ronnie Scott's, London, 5th February 2015 D'Angelo: Voodoo released 2000 Ronnie Scott's Jazz Club https://storage.neonsky.app/651h4emo/images/651h4emo_makk92x3_1tncsm_PAUL-PACEwb_William-Ellis.jpg Paul Pace: Music Bookings Co-ordinator HORACE SILVER: SIVER 'N' WOOD “The album is Horace Silver, the artist, and it’s called Silver N’ Wood. It’s one of a series of albums he recorded in the late 70’s. Basically his quintet was augmented by other woodwinds and instrumentation, which was quite different to what he normally did. He normally composed for a quintet and he felt comfortable with that format. So, with the orchestration on this series of albums on Blue Note, he enlisted the help of Wade Marcus to do the orchestration to help out. Why I chose it is because these series of albums, as with most Horace Silver albums, are very uplifting to play. They make you feel good about yourself. There’s something energising about Horace Silver’s music. It was around the time I was coming to Ronnie’s for the first time. I came to Ronnie’s for the first time in 72 and saw Zoot Simms there and lots of other fantastic musicians of that period. I came to see Horace Silver’s quintet with Larry Schneider and Tom Harrell, fantastic line up. This music composed for this series of albums, which never came out on CD, was issued shortly after that period. So we’re talking about 74 onwards is when I saw the band. Glorious music, trumpet and tenor front line with the rhythm section and Horace’s music, as ever with this augmented line up, was very uplifting. Makes me want to dance when I hear it.” Paul Pace: Ronnie Scott's, London, 5th February 2015 Horace Silver: Silver 'n' Wood released 1976 Ronnie Scott's Jazz Club https://storage.neonsky.app/651h4emo/images/651h4emo_makk92x3_zzt1gr_SARAH--WELLERwb_William-Ellis.jpg Sarah Weller: Musician GREG DIAMOND: BIONIC BOOGIE "This album is by Gregg Diamond and the Bionic Boogie. I picked it specifically just for the one song ‘Hot Butterfly’. I remember when I first heard the song; I thought it was such a fantastic song, so it’s really just that song that I love. Looking at the album it’s just a classic of the late 70’s lack of modesty but the song has Luther Vandross singing it. There’s no one really that beats his vocals in the soul world. It’s just good disco at its prime." Sarah Weller: Ronnie Scott's, London, 5th February 2015 Greg Diamond: Bionic Boogie released 1977 Ronnie Scott's Jazz Club https://storage.neonsky.app/651h4emo/images/651h4emo_makk92x3_olozim_SIMON-COOKE_wb1_-William-Ellis.jpg Simon Cooke: Managing Director CANNONBALL ADDERLEY: SOMETHIN' ELSE ""It’s an album called ‘Somethin' Else’ by Cannonball Adderley. I’ve had quite a bit of time in the rock business but then I never really felt at home. As soon as I leaned over into jazz I felt very much that this is where I’m supposed to be. I really love being in the jazz business and continue to be in the jazz business. I used to go to jazz gigs in pubs when growing up in the North, but I never really knew much about the bigger names, my father was a trad fan, he didn’t think that much of the modern stuff so I was a bit in the dark and looking for guidance. Knowing the artists wasn’t as easy as it is with rock artists or pop artists, they were all over the radio; modern jazz was just not as accessible. So, much as I knew that I really liked jazz and went to pub jazz gigs, I was really struggling to buy albums that would reflect what I liked. I came across this album many years ago and I played this and thought ‘that’s the stuff I really like’. So it became a kind of introduction that set you off in a direction that you go ‘so ok, what else came around this?’. Then that leads you into Miles Davis. It leads you into John Coltrane and next thing you know you are whistling Pharoah Sanders. It came out in 1958 and I think I always looked on it as ‘Kind of Blues’ slightly cooler, older brother strangely enough. I quite liked that because it came out a year before and Cannonball and Miles are on the album. So because it was my introduction to what became a huge part of my life, the jazz world, I’ve always looked upon it very very fondly." Simon Cooke: Ronnie Scott's, London, 22nd January 2015 Cannonball Adderley: Somethin' Else released 1958 Simon Cooke - Ronnie Scott's Jazz Club https://storage.neonsky.app/651h4emo/images/651h4emo_makk92x3_pf8glr_RONNIES-TEAM22w_William-Ellis.jpg Paul, Simon, Sarah, Nick and James LIVE ON STAGE - AT RONNIE SCOTT'S, LONDON https://onelp.com/compilation 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_w441o1_Acker_Bilk_wONE_LPAcker__William_Ellis.jpg Acker Bilk: Musician LOUIS PRIMA: STRICTLY PRIMA “I can’t remember which one it was!! I like Louis Prima - I had the pleasure of working with him in New York a few years ago on Ed Sullivan’s show. We got chatting and I enjoyed his company - I enjoyed his playing and his singing is excellent - good jazzer!” Acker Bilk: Lyceum Theatre, Crewe, 14th November 2010 Louis Prima: Strictly Prima - released 1959 Acker Bilk Interview https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_j96g3p_Al_Jarreau_1LP___William_Ellis.jpg Al Jarreau: Musician LES DOUBLE SIX: LES DOUBLE SIX “Double Six - when I was in college in my first year I had formed a singing group patterned along the lines of Lambert, Hendricks and Ross - and Double Six. Double Six changed my life - I listened to them instead of going to class - I think they almost sent me home! Very important music to me, I became friends with Michel Legrand - his sister sang in the group then and Mimi Perrin - thank you Mimi! we’ll all see you soon. So Double Six - very important, lots of people important - but a special place for them.” Al Jarreau: Bridgewater Hall, Manchester, 26th July 2011 Les Double Six - released 1962 Al Jarreau https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_omsp7j_Annie_Rosswf___William_Ellis.jpg Annie Ross : Musician BILLIE HOLIDAY: LADY IN SATIN "She was my hero, she was my mentor, she was my idol. I got to know her very very well and I was very proud that I did, because she was a real buddy of mine. I think there's a whole life in this voice for her to sing the songs that she sings - I mean you could cry listening to her and I just think she was like a beautiful ebony statue. Great songs." Annie Ross: At home, New York City, May 2013 Billie Holiday: Lady in Satin 1958 Annie Ross https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_d35sls_Becca_Stevens_w1__William_Ellis.jpg Becca Stevens: Musician MICHAEL JACKSON: BAD “It had to be Michael Jackson – then I had a tough time picking which record - but this has my favourite song – ‘Man in the Mirror’ – I love it so much. I narrowed it down from Off the Wall, Bad and Thriller - it was difficult to narrow it down even that far. This record means so much to me.” Becca Stevens: The Bay Horse, Manchester, March 2013 Michael Jackson: Bad Becca Stevens https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_60sth0_Christian_S9627__William_Ellis.jpg Christian Scott: Musician CLIFFORD BROWN: THE BEGINNING AND THE END “I choose a Clifford Brown album called The Beginning and the End it chronicles this guys experience from the beginning of his musical career until a recording the day before he actually died. It’s strange because when I first got the record I didn’t really know what the record was about or why they put it together I just remember hearing this amazing this amazing trumpeter and trying to mimic his version of "Donna Lee", and I can remember at the end of the song hear him speak to the audience – and even as a little kid feeling that this guy had a lot of heart and was compassionate – through his voice – you know what I mean? He sort of says a farewell to the world and I had no idea that’s what actually was happening you know. So when I got a little bit older and I realised what was going on it made me want go back and re investigate it when I was a much better trumpeter and I realised he was playing some pretty impossible things on the instrument when in essence he was a baby - this guy passed away in his early twenties. There’s stuff that this guy did with the instrument that many fifty year old trumpet players would never attempt and this guy did it sixty years ago. It’s scary to think about it. The thing I love so much about Clifford Brown - in addition to his trumpet playing being so refined and so perfect, you could just always tell he was playing with sincerity and love in his heart, that’s a model that I’ve tried to keep going. Lots of guys - they look at some of my song titles and titles of the albums, some of the music is about social issues and things of that nature and they’re kind of charged sometimes – they say ‘oh well this guy’s angry’ - but if they only knew I actually was playing the music from a stance of love. I don’t want this (social issues) to affect my kids - I’m just trying to take that model and apply it to the time period that I inherited.” Christian Scott: Band on the Wall, Manchester, November 2010 Clifford Brown : The Beginning and the End- released 1973 Christian Scott https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_dvfn95_CHUCK_BERGHOFER_W___William_Ellis.jpg Chuck Berghofer: Musician JONI MITCHELL: BOTH SIDES NOW "Normally most people wouldn't pick an album that they are on, but this is not because I'm on it - but because it was such a surprise to me. I was asked to go to England for an album with Joni Mitchell and I always thought that Joni Mitchell was in more of a folk bag -I wasn't sure what I was even gonna do. I get into the booth and there's big orchestra there and everything and we start playing and she starts singing the first tune we did - it's not necessarily on the record was 'You've Changed', and she sings straight ahead beautiful stuff and I could not believe what I was hearing in my ears - she gave me chills up my spine man. To this day I put this on for people that have never heard it and they can't tell me who's singing because they've never heard her sing like this. The arrangements are absolutely incredible – by Vince Mendoza. So this is a real important album to me - to pick out my favourite album of all time - that's almost impossible. I go way back listening to many things - Miles Davis and all those things that turned me on. This one shocked me because it was so good!" Chuck Berghofer: Hollywood, CA, May 2013 Joni Mitchell: Both Sides Now 2000 Chuck Berghofer https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_rjv458_Bill_Birch_w___William_Ellis.jpg Bill Birch: Author FRANK ROSOLINO: FREE FOR ALL “I discovered the vinyl album “Free for All” (Speciality SP2161) in 1990 whilst visiting New York City and recognised its rarity immediately, even though it had only been released 4 years earlier, (1986). Speciality Records was not your usual run-of-the-mill jazz label, so a short run was more than likely what had happened. The liner notes confirmed my suspicions as the recording had been long-forgotten, even by the man who produced it, David Axelrod. I was immediately hooked with his style and finesse but especially taken with his tone. So much so that I now have 94 LPs/CDs, either under his own leadership or otherwise featured with different bands, large or small. In a “blindfold test” of his recordings I’m certain I could pick him out without hesitation, regardless of the number of trombonists put before me. It remained un-released for 10 years after Rosolino’s untimely death, in spite of his many promptings to the company after completion. He believed it was the best album he’d ever made and I wouldn’t dispute that for a moment!” Bill Birch: Midland Hotel, Manchester 10th June 2012 Frank Rosolino: Free For All 1959 Bill Birch - Keeper of The Flame - Modern Jazz in Manchester, 1946 - 1972 https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_ixytok_WFV_CLT_WGN10___William_Ellis.jpg Clark Tracey: Musician THELONIOUS MONK: MONK'S MUSIC, 1957 "I think probably because it's a nostalgic thing for me. It was obviously being played from my earliest years - my very earliest years. The album cover appealed in the way it would to a child - Monk sitting in the trolley. The musicians on the album, the feel, everything - as I've grown up and matured with music it's turned out to be one of the best albums - it still appeals to me." Clark Tracey: Wigan Cricket Club, July 2010 Thelonious Monk: Monk's Music, 1957 Clark Tracey https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_8jvnbw_David_Bassie_KC_MG_9346___William_Ellis.jpg David Basse: Musician, broadcaster DON ELLIS ORCHESTRA: TEARS OF JOY "My One LP is by Don Ellis - it's a live album by the Don Ellis Orchestra called Tears of Joy. When I was 16 the Orchestra came to my home town of Norfolk Nebraska. I had never seen live big band jazz before and this was a really big band! They had a string quartet, lower brass, tuba - lots of cool stuff stuff. A pianist named Milcho Leviev had just come from Bulgaria a drummer named Ralph Humphrey who went on to perform with Manhattan Transfer and record on most of their albums. As time went on I had the great occasion of hiring Ralph to play in my band when I lived in Los Angeles . I appeared with Milcho's quartet in Los Angeles and became very very close friends with Milcho as time went on. I was just riveted by this music when I was 16 years old - very intricate very wonderful jazz. Don Ellis was a innovative trumpeter who had a 4 valve trumpet instead of 3. In performance they were all dressed outlandishly - Don had boots up over his knees, riding pants and a long black coat when he played the trumpet. When he sat down he was at a set of drums - this made 3 drummers and a percussionist - and they would do drum solos ! Songs in 9 13 and 33/8 - oh wow - whacky stuff going on all the time fantastic. It is still one of my favorites albums – I bought it in the early seventies, I play it on my radio show still - wonderful music." David Basse: Aladdin Hotel, Kansas City MO. May 2013 David Basse Don Ellis: Tears of Joy https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_zpp6ss_Flip_Mannew__William_Ellis.jpg Flip Manne: President - Los Angeles Jazz Society RUSS FREEMAN AND SHELLY MANNE: ONE ON ONE "This is called 'One on One' - it's Shelly with Russ Freeman - he was a very good jazz pianist - unique. He left the jazz world and composed for movies and tv - made a lot of money but stopped playing jazz! This is one of the last things Shelly did - it's just the two of them playing off each other - it's very original. They played together alot at one time - every once in a while Shelly would try to get him to come out and play - "just come out and play Russ!" Russ was a perfectionist and he didn't feel he could do it as well he used to so he just wouldn't play anymore, so it was kind of too bad." Flip Manne: Sun Valley CA. May 2013 Russ Freeman and Shelly Manne: One on One 1982 Los Angeles Jazz Society https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_imodlo_1lp_wDon_Weller1787.jpg Don Weller: Musician MILES AHEAD - DEXTER GORDON: BLOWS HOT AND COOL “Right, Miles Ahead, I first heard that in the 70’s actually, completely new way of writing. Gil Evans with Miles Davis. Miles is great on it, very cool playing, fantastic LP at the time. I don’t think anyone else has caught up with Gil Evans since then - the way he was writing. Dexter Gordon - Well it’s the sound really - there’s no other sound like it. If I could get a sound like that I’d be over the moon - but then, I’m me really - so I have to put up with me! Dexter I love - specially the Go! album and Doin’ Allright which I got in the 60’s - that’s about it really.” Don Weller: The Clifton Hotel, Southport, 6th February 2011 Miles Davis: Miles Ahead, 1957 Miles Davis Dexter Gordon Plays Hot and Cool Dexter Gordon Don Weller https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_4ifep1_Greg_Carroll_KCw___William_Ellis.jpg Greg Carroll: Musician, CEO American Jazz Museum MODERN JAZZ QUARTET: PYRAMID "My One LP is Pyramid - first because Mllt Jackson is the quintessential vibraphonist - he plays the most unbelievably beautiful version of Django I've ever heard. When I first heard that record I fell in love with his playing - it was of my first records where I ever heard Bags play. I immediately fell in love with it and I immediately tried to emulate his playing, that's when I was beginning to play vibes and I said "I'm going to learn every note this man's playing." Still to this day I haven't done it because every note that he plays is so carefully crafted and it's hard to recapture that - it's a pyramid – a pinnacle and I think it really represents the Modern Jazz Quartet." Greg Carroll, Aladdin Hotel, Kansas City MO. May 2013 Greg Carroll Modern Jazz Quartet: Pyramid 1959 - 1960 American Jazz Museum https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_69ypsz_GPorterv1___w1LP__WEllis.jpg Gregory Porter: Musician DONNY HATHAWAY: LIVE “The ‘Donny Hathaway Live’ album is so special because it captures - with full concentration the thing that’s special in live performance. That communication, that exchange of audience and artist. There’s back and forth conversation, the women and the men in the audience are screaming things back to Donny and Donny’s of course responding musically - and responding incredibly musically. You can feel the emotion in the room as soon as the needle hits the record. That communication - it’s not just jazz, it’s not just soul, it’s human to human. That exchange between humanity is just beautiful to see. It happens on Donny Hathaway LIve.” Gregory Porter: Band on the Wall, Manchester, 13th June 2012 Donny Hathaway: Live - released 1972 Gregory Porter https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_n8ey57_wJack_Bruce__William_Ellis.jpg Jack Bruce: Musician OLIVIER MESSIAEN: L'ASCENSION: (THOMAS TROTTER) "It's called L'ascension by Olivier Messiaen who was a French composer I have loved for most of my life. Why I love his composiitions is he shows that music has always existed. Humans only stole it. We borrowed it - but it's in nature, It holds the universe together, ask any skylark or ask any blackbird they'll tell you." Jack Bruce: Band on the Wall, Manchester, 24th March, 2011 L'ascension was composed in 1932-33 Jack Bruce https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_44qa4a_weSoweto_Kinch.jpg Soweto Kinch: Musician WYNTON MARSALIS: BLACK CODES FROM THE UNDERGROUND "I thought I'd select one of my more contemporary recent favourite albums. In terms of the jazz idiom this was a statement of intent really from Wynton at the point it dropped. I think as an example of all of them playing as young lions Jeff 'Tain' Watts, Kenny Kirkland, Charnet Moffat all playing really at the peak of their powers and of course Branford who's a massive influence on me. I think it's a really good example of not just the virtuosity of their playing and writing these great compositions - but also having a kind of political conciousness that's sadly bereft from alot of modern jazz - (that is) an attempt to make people think about what the thoughts are behind the music." Soweto Kinch: Hockley Circus, Birmingham, 5th August 2011 Soweto Kinch Wynton Marsalis: Black Codes from the Undreground released 1985 Wynton Marsalis https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_pkmriw_RON-CARTER_wb_WELLIS.jpg Ron Carter: Musician DVORAK: NEW WORLD SYMPHONY - BERNSTEIN, NY PHIL “My record of import is one I heard in 1962 when I heard the melody played by Yusef Lateef on oboe. I later found out the record he made on this disc was called ‘Going Home’ which is one of the movements from a Dvorak Symphony. So I went out and bought the disc – that would have to be done by Leonard Bernstein and The New York Philharmonic when they do the four movements of the Dvorak New World Symphony - and among these four movements is that melody called Going Home The story is that Antonin Dvorak came to the States - to New York, heard some blues people and went back to his hometown in Europe and wrote this melody – we call it ‘Gong Home’ I’ve since recorded it on a record of mine called Orfeu with Bill Frisell on guitar, Houston Person on saxophone and my working quartet. It’s a great view of a classical melody interpreted by jazz musicians who are always, going home.” Ron Carter: At home New York City, 1st April 2014 Antonin Dvorak: New World Symphony composed 1893 Ron Carter Leonard Bernstein https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_la10dh_Johnny_Marr_w1LP___William_Ellis.jpg Johnny Marr: Musician IGGY POP AND THE STOOGES: RAW POWER “It's 'Raw Power' by Iggy and the Stooges it came out in 1973. I heard about it in 1978 I think when I was about fourteen – fifteen. A bunch of friends that I used to hang out with who were all guitar players at various levels, were a bit older than me, I used to play around at friends houses and one guy said I should check this out because it reminded him of the way I was playing at the time, so that intrigued me. This name Raw Power kept coming up again and again. So I got on the bus and went into town to buy it, which was a big deal because I was only a kid and I didn't really have that much money. When I actually pulled the sleeve out of the rack I just could not believe it – I mean - the power of that image hasn't diminished anyway. Just the sleeve alone promises quite a lot and I couldn’t really imagine what I was gonna be getting into. On the bus all the way home I was just kind of stunned by these images, these Mick Rock pictures. So I was already hooked before I'd even played it really because the sleeve alone - well for a start it does what the music does. It’s got the promise of some kind of shadowy other world - which if you live in the suburbs as a teenage kid looking for something interesting it's really quite alluring I think. I couldn't believe the music - I still absolutely love it and listen to it often. The thing about it is a lot of people assume that Iggy Pop particularly and the Stooges were just about ramshackle random attitude - there is plenty of attitude behind it but the amazing thing about it is that is very very deliberate, it's almost intellectual - that was something I didn't really understand at the time. I think a lot of people still don't realise that about Iggy Pop and James Williamson, who is the guitar player - and who is actually my favourite guitar player because of this record - that there's a real agenda. It's not just people putting their heads down and being messy – yeah it's got alot of attitude and it’s got a lot of raw noise manifesto in it but it's very deliberate and the words are pure street poetry I think - “Search and Destroy” particularly. ”I Need Somebody”, “Penetration”. So it's about sex, it's about drugs and it's about an alternative subterranean world I think. Which are all amazing things particularly for a teenager or someone who’s looking for something outside of the culture but it doesn't really last unless the people making it actually live it. You can have all those things sort of things hung around the iconography around the sleeve and the titles - this idea of sex and drugs and subterenea - but the thing is with these guys they were actually really living it. I think it's very beautiful as well, tracks like “I Need Somebody” has this kind of burlesque bordello folk music aspect to it. Almost like 20's or 30's prohibition American folk that is about illicit things. It’s about sex really and it has that in the music and its matched perfectly by the vocal delivery - so again in Iggy Pop you've got a very young livewire poet who read Time magazine and Newsweek because he wanted to - as I understand – because he wanted to know what the enemy was doing and wrote his lyrics accordingly. He's not just someone who's trying to cop an attitude, he's someone who really understands that he's living in the shadows kind of thing and it’s just this kind of other worldly kind of promise he delivers. Aside from all of that its got killer rock 'n' roll riffs - really killing riffs. I'm often asked who's my biggest influence or who's my favourite guitar player and all that, and I've always been able to say James Williamson. I don't really play like him other than if I go back to where I started with this story. The start of this song on there called “Gimme Danger” is this very haunting arpeggio acoustic thing and that's where this friend of mine put the connection between me and this record together because it does like sound the way I was learning to play. I think often with things that you connect with on an artistic level, so in my case records. There's two ways you can do it - one is that you admire something and that's fine - that you admire a record or you admire a painting - but often I think it's because the artist is capturing something that you understand - a feeling that you understand, so even if you’re looking at or listening to something abstract there’s a little lightning bolt of recognition in there. I think that’s what makes artists great because it’s an unquantifiable almost subconscious thing for many humans who dare to kind of peek around the regular third dimension. You might sitting on a bus or in your car or on the way to school or at the back of the classroom or wherever it may be. Perhaps when you go sleep at night and you have this thing in your consciousness or subconscious and we don’t really pay attention to them until they come out in a colour or a riff or they come out in a lyric I think music and painting does it better - particularly abstract painting does it better (than a lyric) because language immediately by definition quantifies things and what I’m talking about is this extrasensory aspect - and all the greatest music that hooked me as a kid did that - it’s like the promise of a different world that you weren’t living in but at the same time you recognised it - it was familiar. I can’t ever disassociate this record from all those things because it was so powerful to me. So even if I wasn’t in the mood to listen rock ‘n’ roll music I would always have that massive connection with this record because it really sums up a big period of my life that seemed to be constantly strewn in sodium light that was coming through the windows of my bedroom in my parents council house you know. I’d turn all the lights off and there was one of those big yellow street lights outside the window that would seep through the room from late September till spring really, so it seemed like an eternity as a 15 year old and I would just listen to that record and play along with it. I understood it without having to analyse it – “I’m a street walking cheater with a heart full of napalm” is the opening lyric.” Johnny Marr: Richard Goodall Gallery, Northern Quarter, Manchester, 23rd February 2011 Raw Power released 1973 Iggy Pop Johnny Marr Johnny Marr talks about his One LP Raw Power towards of the interview at the BBC in the FX section. https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_hjvjaz_Marcus_Miller_w___William_Ellis.jpg Marcus MIller: Musician MILES DAVIS: MILESTONES “Miles at his height in the 50's before jazz took another turn - this album, along with the other Miles' of this period was really at the height of the elegant era of jazz: Then it went somewhere else that was equally amazing. But I really love how the combination of soulfulness and intelligence that these guys played with - 'Trane and Red Garland, Paul Chambers, Philly Joe, Cannonball and Miles - just an unbelievable group and this record is just - Philly Joe - Paul Chambers - they're just killin’ on this record." Marcus Miller: Band on the Wall, Manchester, November 2011 Miles Davis: Milestones 1958 Marcus Miller https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_xgopxg_1LP_PETER_KING___William_Ellis.jpg Peter King: Musician BELA BARTOK: STRING QUARTETS NO.5, NO.6 "When asked to pick an album that had the biggest impression on me, I found it difficult to choose from all the great jazz recordings that had inspired me. Instead I decided to pick an album from the classical world, one that has had a life time influence on my musical thinking. Of all the composers from the first half of the 20th century has long been Bela Bartok and I will never forget hearing for the first time his six String Quartets; long considered the greatest contribution to the genre since Beethoven. On first listening I couldn’t believe there was only a string quartet playing; it sounded like a full string orchestra, such was the power and richness of the writing. Bartok’s Quartets are full of exciting harmonies dissonances and wild almost jazz like rhythms. Later, on first seeing the scores, I began to understand how he achieved such dynamic and often” savage” power from only four instruments. However, it took me over thirty years of intensive study before I was able to figure out a way to incorporate some of his techniques into a jazz format. This long search eventually led to my Miles Music album “Janus”, featuring my jazz quartet plus a string quartet. The string writing in “Janus” is heavily influenced by Bartok and especially by the 4th String Quartet, arguably the greatest masterpiece of the six." Peter King: Theatr Brecheiniog, Brecon, 7th August 2010 Béla Bartok: The Fine Arts Quartet: String Quartets No. 5 - 1934 No.6 - 1939 Peter King https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_e387f5_Robert_Glasper_w1LP__William_Ellis.jpg Robert Glasper: Musician SLUM VILLAGE: FANTASTIC ,VOL 2 "The reason this album is special to me is because the producer of the album - J Dilla is my favourite hip hop producer and I got the privilige to actually work with him before he passed away in 2006. To work with him - watch him make music - watch him in ‘the lab’ and see how he works. J Dilla is probably the only producer I know that changed the way musicians actually play their instruments. Normally a producer will just take from the musicians and do their thing - but J Dilla actually changed the way musicians play music. So this particular album Fantastic Volume 2 - when it came out, was to me the first time a record that made people start playing in that hip hop way behind the beat - kind of sloppy hip hop way - all that stuff started with Dilla - you know what I mean. This record has all of my favourite people on it - D'Angelo’s on there - Common - a lot of people on this record. It also means alot because of the time period it came out, and how it influenced the way I play doing my Trio and my Experiment band - just the way we feel the beat, his drum patterns, drum sounds, the way he samples piano and where he decides to put it - it's placement is what makes it just very very special. So I've kind of patterned alot of the stuff - especially when we play J Dilla beats we pattern alot of our stuff around his idea of where the beat is - so I think he was definitely ahead of his time and a genius of his time. So that's why I chose this record.” Robert Glasper: Hilton Garden Inn, Glasgow 28th June 2012 Slum Village Fantastic, Vol. 2 - released 2000 Robert Glasper https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_rpmtxh_ROGER_MCGOUGHw81___William_Ellis.jpg Roger McGough: Poet, author, broadcaster SIR JOHN BETJEMAN: BETJEMAN'S BANANA BLUSH Sir John Betjeman reads his verse accompanied by the music of Jim Parker "I’ve chosen one which is a happy marriage of words and music. There have not been many successful poetry and music albums, but one I think works well features John Betjeman, a unique eccentric and wonderful reader of his own verse. He was poet laureate as we know, and the music by Jim Parker, who lives round the corner from me in south west London, captures the period and mood of the poetry." Roger McGough: St. George's Hall Concert Room, Liverpool, April 2013 Banana Blush 1974 Sir John Betjeman Roger McGough Jim Parker https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_gdx9h4_Ruth-Price_wbla_WELLIS.jpg Ruth Price PEGGY LEE: MIRRORS Ruth Price is Founder and Artistic Director of the Jazz Bakery in Los Angeles. "I think I respect this album more than any other, it's called Peggy Lee Mirrors - it was done a while back I don't know exactly when - not recently that's for sure! When you think of Leiber and Stoller you think of Yakety Yak - really famous songs, the only song on this album anyone would know would be Is That All There Is? - which sounds really Brechtian. These are trunk songs that nobody ever heard - they're wonderful. Johnny Mandel did the orchestration - it's the perfect marriage. If I had done this album I would consider my life well spent, I really do respect it - it's gorgeous. But I have a lot of singers I love - and a lot of musicians I love." Ruth Price: At home, Beverly Hills CA. April 2014 Peggy Lee: Mirrors released 1975 Ruth Price The Jazz Bakery https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_ax49mn_1LP_w_TerenceBlanchard.jpg Terence Blanchard: Musician MILES DAVIS: FOUR & MORE "It's Miles Davis 'Four and More' and the reason why it's so special for me because I remember the first time I heard it as a kid. Listening to that live performance blew me way because you know I had been listening to a very different style of trumpet playing and improvisation. Those guys just kept me in a tail spin trying to figure out what they were doing, where they were going and I remember I was trying to get a handle on what jazz was so I would play each track - and this was back in the days of vinyl albums so you're trying to find that spot on the record with the needle! So I used to play 'em over and over and over again. I would play you know, like ‘Four’, I would listen to Miles play then I would only listen to Herbie, go back then only listen to Ron, go back, only listen to Tony. I kept doing' man until in my mind the whole album man, that album had such an impact on my life you know because it was so forward thinking in the realms of this music - and think about the date that it was recorded. To think that it still stands the test of time today speaks volumes about how important it is." Terence Blanchard: The Old Fruitmarket, Glasgow 30th June 2011 Miles Davis: Four & More - released 1966 Terence Blanchard https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_pf3nc9_Terry_O_Neill___William_Ellis.jpg Terry O'Neill: Photographer ELLA AND LOUIS "I have had this particular album for around 54 years and I've never stopped playing it since the day I bought it. It's Ella and Louis with the Oscar Peterson Quartet and it's the finest bit of jazz singing I've heard - ever and they sing all the great songs by all the great writers - (released in 1957) Christ - all that time." Terry O'Neill: Scott's, Mayfair, London, July 2011 Ella Fitzgerald, Louis Armstrong: Ella and Louis 1957 Terry O'Neill https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_po5epv_FRED-PATTERSONolpwb_WEllis.jpg Fred Patterson: Archivist BO DIDDLEY: BO DIDDLEY "Hey, I chose Bo Diddley’s first album because Bo Diddley was one of the greatest guys that ever walked this planet. He was a great guitar player. He wrote great songs - he had such a great sense of rhythm, better than almost anybody that ever followed him. His records are so fabulous and simple. They’re deceptively simple. Nobody can do them like Bo Diddley. Bo Diddley was the man. He was the king. I miss him." Fred Patterson: ARChive of ContemporaryMusic, New York City, 19th September, 2014 Bo Diddley: Bo Diddley released 1958 Fred Patterson is Head Archivist at The ARChive of Contemporary Music , New York City Fred is it. https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_ehfxaa_TREVOR-NEALolpwb_William-Ellis.jpg Trevor Neal: Artist THE GRAHAM BOND ORGANISATION: THE SOUND OF 65 ‘It’s The sound of 65’ by the Graham Bond Organisation. It's part of my teenage years. As the title suggests it was recorded in 1965. I lived in a small mining village called Elsecar near Barnsley but five, six or sometimes seven nights a week I came into Sheffield to the legendary Esquire Club. I saw the legendary Graham Bond play there at least six or seven times. He played there a couple of all nighters. I fell asleep in the television room one night and when I woke up the morning after Ginger Baker was asleep on my shoulder.. So Ginger Baker was one of the Graham Bond Organisation with Jack Bruce and Dick Heckstall-Smith. It’s an album that’s seen a few wars - it’s in dreadful condition. I looked on ebay last night and there’s a copy of this for sale at £450 – no bids on it yet. So it’s achieved legendary status but mine’s in dreadful condition. I had it cleaned recently and it cost me a pound - it’s just about playable. ‘Sound of 65’ Graham Bond Organisation reminds me of my teenage years at the Esquire Club in Sheffield." Trevor Neal: The Richard Goodall Gallery, Manchester, 7th October 2014 The Graham Bond Organisation: The Sound of 65 Trevor Neal https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_h70pz1_OLI-ROCKBERGERweb_WELLIS.jpg Oli Rockberger: Musician STING: MERCURY FALLING "I really love this record. When I was growing up in London a few close friends and I discovered it back in our teens, and we used to listen to it together, talk about what the songs meant to us. Whenever I listen to it now it takes me back to that special time in my life and to those precious friendships….amazing how an album can do that isn't it? I find the stories here so rich and engaging in the way they are told through the playing, production and arrangements. The record has been a real source of inspiration to me over the years, and I still get something new from it even after all these years of listening…" Oli Rockberger, Rockwood Music Hall, New York City, 2nd April 2014 Sting: Mercury Falling released 1996 Oli Rockberger https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_x8y0zw_DAVID-WASwb_WELLIS.jpg David Was: Musician, Record Producer. Journalist ORNETTE COLEMAN: THE SHAPE OF JAZZ TO COME "You know, when we were teenagers, the jazz guys seemed to us to be the real rebels. To me, folk singers and protest singers weren’t tagged to the streets like a black jazz artist whose very livelihood if not health was on the line. In New York, you lose your cabaret card, not work, you’re a junkie, you could sink even lower than you were. To me, there was kind of a heroism that fought against the racism of the general society and got expressed in a music that was as beautiful as it was spiky and ugly sometimes. So by the time Ornette Coleman comes around, he was following the bebop era which was ornate and elaborate. Ornette Coleman comes along and he’s taking jazz through modern, modal scales, back to an elemental feeling that you’d say is more connected to the blues. So, in a way, even though he’s a supreme modernist, he’s echoing something as early as Louis Armstrong in its simplicity. And also, he disposed of traditional harmony, as articulated bypianos and guitars, and let this horn float naked in front of just drums, bass and – in this case – trumpet, Don Cherry. It put a lot of heat on the soloist; your line had to flow, he had to keep an interest going that didn’t have to do with the harmonic undergirding and all that interchange harmonically that goes on. So it felt naked, it felt raw. And yet a melody like ‘Lonely Woman’ on this... The purists were probably shocked by it because of its kind of ugly beauty, its twisted grace. To me, it was... It had – what do they call it in philosophy – an objective correlative, it actually correlated to a human experience. If you listen to bebop, you hear a little anger and frustration but this was reeking of expression. And, to me, although this is the great dichotomy in jazz, the horn players wanna sound like the human voice, the alto sax being in the range of a female’s voice. And the funny thing is, a great jazz singer like Billie Holiday or Sarah Vaughan wanted to sound like the horns! So when they work together... I almost chose Sarah Vaughan’s No Count Sarah.(1958). It’s a record of hers without Count Basie but using his band, just swinging, and - as artistic as it is - just down and dirty, which finally is what attracted us as kids to jazz. It had this dignity of these underclass warriors who’d survived everything they’d faced. And yet it sounded like they were dedicated to something higher than just screaming through the horn. They found beauty in the jungle somewhere." David Was: Amoeba Music, Los Angeles, 10th April 2014 Ornette Coleman: The Shape Of Jazz To Come released 1959 David Was https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_jw82qv_Victor-Brox_w1LP_WEllis.jpg Victor Brox: Musician MUDDY WATERS: THE BEST OF MUDDY WATERS This album is called ‘The Best of Muddy Waters’ and it’s the seminal Chicago blues album with contributions by most of the people of note and are actually from Mississippi who had made the journey to Chicago. So you have the pure Mississippi blues in electric form for the first time. Muddy Water on slide guitar and vocals, Otis Span on piano, Little Walter on harmonica and of course Willie Dixon on bass amongst many other fine musicians - but they are literally the best in their category in my opinion and it’s a splendid example of working together – in a way that is so relaxed and so natural absolutely disciplined in a way that no revival band has ever been able to approach in my opinion - sheer quality, and this has all the classic tracks. I played with Willie Dixon in Hollywood, I went there to represent Europe in the Little Walter Memorial Concert. All the surviving members of the great Muddy Waters and Little Walter bands were there – The Aces and The Dukes and quite a lot of other people like Lowell Fulson and Lee Oskar who was the harmonica player with War who invented a completely different form of harmonica playing and everybody connected with blues – the last remaining time and they’re all dead now apart from Lee Oscar, that was back in 1990. I went for two weeks and stayed for nearly a year.” Victor Brox: Richard Goodall Gallery, Manchester, 7th October 2010 Muddy Waters: The Best of Muddy Waters released 1958 Victor Brox https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_kn183r_MARY-SCOTT_wb_WELLIS.jpg Mary Scott: Musicians Agent RONNIE SCOTT / SONNY STITT: LIVE AT RONNIE SCOTT'S Full title - The Night Has A Thousand Eyes "Well, it’s a recording of Ronnie and Sonny Stitt that was done in 1965 in the old place in Gerrard Street. And it was a spontaneous union. They were having quite an argument in the office at the back of the club prior to Sonny going onstage. It was a musical dispute. And it was time for Sonny to go on the stand, so he turned around to Ronnie and said, ‘You wanna take it on the bandstand?’ And Ronnie said, ‘Absolutely!’ And the two of them stormed onto the bandstand and what ensued after that was one of the most electrifying evenings that any of us had heard probably ever, because of course they were nuts mad at each other and they were trying to outdo the other and it was amazing. The whole evening was absolutely incredible. And the irony is none of us realised it was being recorded, we were so wrapped up in the music. And I remember saying to Ronnie afterwards, ‘If ever there was a night that should have been recorded, this was it! It’s an absolute sin that this...(laughs)...isn’t there for people to listen to. ‘ And we were lucky. It was recorded. And it was a memorable evening that I don’t think anyone who was there will ever forget. And the other extraordinary thing is that when this was released, actually after Ronnie had passed away, cos of course the 50 years thing had gone by... But Valerie Wilmer was there that night and she took the photograph that was...is...on the cover of the CD. It never was an LP cos it wasn’t released during the time when it would have been an LP. And the picture is completely remarkable because she captured Ronnie playing some quite exquisite changes and Sonny Stitt looking at his fingering and looking completely mystified and perturbed which was such a wonderful summary of what actually was happening that night. So that’s... It’s my favourite CD. Clearly, I was mesmerised when it came out and very grateful that it had been recorded." Mary Scott: Hotel Pennsylvania, New York Cit, 3rd April 2014 Ronnie Scott and Sonny Stitt: The Night Has A Thousand Eyes recorded at Ronnie Scott's, Gerrard Street Released 1997 Mary Scott Global Music https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_cyll3e_JURGEN-SCHADEBURG_W_WELLIS.jpg Jürgen Schadeberg: Photographer and filmmaker LENNY BRUCE: BUSTED! LIVE 1962 "In the seventies it was very popular among friends of ours to listen to American comedians.There were quite a number of them. There was Victor Borges and many others whose name I don't remember but we did spend lots of time listening to these records. Then I suddenly discovered Lenny Bruce . Lenny Bruce was more aggressive,was very political and very tough. He was really an anarchist in a way. I was very impressed by his work especially from a political point of view. At that time there was a need for that sort of aggression and criticism of society. Among the establishment he became terribly unpopular because of his criticism of society and (way of) life itself. To some degree it relates to the situation I came across in South Africa, but in general I saw it as a worldwide criticism of the establishment." Jürgen spoke later about what he considers to be his most important photographs - those he took of Nelson Mandela on his return to his cell on Robben Island where he had been held for seventeen years. "As I watched (Mr.Mandela) and took a few frames I suddenly realised 'what goes through this man's brain now - seventeen years being stuck in this little place?' Looking out of that window, what does he see looking out of that window? And then I said 'thank you very much' and he turned around and he gave me a little smile, it wasn't his normal smile - it was his coming out of deep thought and contemplation of sorrow passed and so on. It was very personal. I think that was my most important two pictures, him looking out and turning around and having that little smile. That was a very different smile from his natural smile." Jürgen Schadeberg: Belgravia Gallery, London, 23rd June 2014 Lenny Bruce: Busted! Live 1962 Jürgen Schadeberg https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_quuo5u_ERWIN_HELFERwb__WELLIS.jpg Erwin Helfer: Musician THELONIOUS MONK: PLAYS DUKE ELLINGTON "It’s the best playing of Duke Ellington I ever heard in my life. It’s really beautiful. You can hear him humming on “Sophisticated Lady” in the background and it’s heart wrenching - it’s so beautiful. On something like “I’ve Got It Bad and That Ain’t Good” he starts off with some real slow playing of it in free time just by himself and then the band pulls it in after he plays the first verse and it feels like somebody’s just taking a romp through the park on a warm summer day. And then “Caravan”, which has that Latin beat to it, he just really grooves on it and leaves a couple of measures out and then comes back in. And those measures he leaves out are so important and so strong – he just did the right thing all the time – he was totally intuitive. He’s a real hero. You see, I don’t play that kind of music; I come from the slow blues of Jimmy Yancey . I accompanied Jimmy’s wife, Mama Yancey, after he died. I learned on the streets first and then I took a couple of degrees in music later. I love classical music but it kicks my ass in so badly when I try to play it so I memorise stuff. So I am more wired to play improvised music so this is the kind of stuff I play- but I don’t play like Monk but I just love what he plays. Most of the stuff I love is what I can’t do!" [laughs]. Erwin Helfer: Katerina's, Chicago, 14th May, 2013 Thelonious Monk: Thelonious Monk Plays Duke Ellington released 1955 Erwin Helfer https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_mexeeo_GUY_WEBSTERwb__WELLIS.jpg Guy Webster: Photographer THE MAMAS AND THE PAPAS: IF YOU CAN BELIEVE The Mamas and The Papas: If You Can Believe Your Eyes And Ears “I designed and did all the graphics for album covers for Mamas and Papas and the Stones, The Doors and all that. There’s a Doors cover that’s really famous – this one here (shows ‘The Doors’ ) was the original Doors cover, that’s one of my most famous covers, it was nominated for a Grammy along with a Byrds cover that I did. You have to understand these covers are repops of the originals – they reproduced them later to make the graphics larger to sell them in the bins (racks) and things like that That Doors (The Doors) cover there – was very elegant when it first came out, And then later on the (print) runs got trashier and trashier, the colours were off, they could be off register even. William: Would you say that the albums you’ve mentioned represented a milestone in your career? Guy: The milestone of my career was the Mamas and The Papas in the bathtub. That put me on the map, I’d already become successful - but I wasn’t ‘a known’ photographer. That particular one - I loved the music, I was really close friends with the Mamas and the Papas until most of them died I was a major friend, and I still have one left Michelle is still a good friend she comes to visit, we do things together. So those are the ones (albums) I would say are monumental for my career, but after Mamas and the Papas, I travelled with them, they were my best friends, I never stopped working for 30 or 40 years, 50 years, busy every day. That is big! Dylan – I shot him but never stayed friends with him or anything like that.” Guy Webster: In his studio, Venice, Los Angeles, CA, 7th May 2013 The Mamas and The Papas: If You Can Believe Your Eyes And Ears released 1966 Guy Webster https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_wrds3e_BRAD_STUBBS_OLPW__WELLIS.jpg Brad Stubbs: Musician STAN GETZ/ JOÃ¥O GILBERTO: GETZ/GIBERTO Brad Stubbs: At home, West Hollywood CA, 12th May, 2013 "I chose Getz/Gilberto with Stan Getz and João Gilberto, which was my entry into jazz - I didn’t even know it was jazz - and I loved it so much and it’s just an album that I have just bought over and over and over again and I listen to it all the time. I listen to it when I’m kissing my wife, when I’m making love. Everything was built on this album, after I heard this, then I fell in love with Sting, I fell in love with Michael Franks, I fell in love with Sade. I’m a writer and I write stuff like that, that sort of same beautiful…it’s jazz, but it’s beautiful. And jazz isn’t always beautiful to some people when you listen to Coltrane or something when he’s gettin’ all crazy in the 60s, but this is beautiful, you know. And I loved it so much and anyway that’s why I picked this album. But I have so many copies of it and I just keep buying it. If I saw it today at [???] I’d probably pick it up again and I’d go, Oh wait a second, I already have this. I don’t care! So that’s my story on that. Stan Getz though, something interesting about him, he got a lot of flak for this album, you know, and it’s happened to a lot of artists since then. You know, that’s not real jazz, it’s beautiful but if you look at this album it’s still in the top ten of jazz songs. This, Miles Davis Kind of Blue, Take Five – those are the top ten songs. And I look at people like Brian Wilson from The Beach Boys, he got a lot of flak and it hurt him and it drove him crazy and he neglected his music. It happened to Sly Stone from Sly and the Family Stone. The black community gave him a hard time because he was writing these positive songs and Norah Jones, another one – I love Norah Jones – but she got a lot of flak for this music but you know what? Those are the records that are going to last and last and last and it was almost a tragedy that Stan Getz couldn’t embrace this, you know, for longer because you know his peers were judging him – it “wasn’t real jazz” but to me it was the best stuff that Stan Getz ever did. And of course Jobim, oh what a great writer! One of the greatest writers since Beethoven, in my mind. You know, he does such interesting things with music, that I can spend years just analysing his songs and the way he writes, because he’s otherworldly. And anyway, that’s why I love Getz/Gilberto." [laughs] Brad Stubbs: At home, West Hollywood CA, 12th May, 2013 Stan Getz, Joåo Gilberto: Getz/Gilberto released 1964 Featuring Antonio Carlos Jobim and Astrud Gilberto Brad Stubbs https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_nthmla_Mum_OLP___w__WELLIS.jpg Peggy Ellis FRANK SINATRA: GREATEST HITS! "It's Frank Sinatra's Greatest hits – Strangers in the Night is my favourite track and It Was a Very Good Year - I like that one and Thats Life -he was verylivelyon That's Life'. I like all of them Bill! He could sing seriously or go jazzy and swing a song.- he could sing any song, a ballad or a lively one and I love the way his tone blended with an orchestra. I like him all over, good entertainer ,everything about him, I thought he was lovely - lovely blue eyes O'l Blue Eyes! He was lovely. Really funny as well – good sense of humour. I just like to listen to him but I've seen a lot of his pictures - though he was a nice dancer too. I remember him with Gene Kelly and Grace Kelly, him and Bing - they were good together. I was in his fan club donkey's years ago, you had to pay a subscription of two shillings or two and six pence – something like that and used to get some information about him now and then – don’t know where all that went though! I liked the way he sat on a tall stool his hat just tipped at an angle when he sang. That's a lovely picture (of him) - he was the best. I loved him in other words!" Mum: At home Woolston, Chehire, 7th December, 2013 Frank Sinatra: Greatest Hits! released 1968 https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_wnvj56_PEGGY-SEEGERwb_William-Ellis.jpg Peggy Seeger: Musician HARRY SMITH: THE ANTHOLOGY OF AMERICAN FOLK MUSIC “Columbia Records made a fantastic anthology which was drawn together by Harry Smith way way back - am talking about the 1950’s - '50, ’51, ’52. It contained a small sample of something like four or five dozen folk singers - real folk singers - not like me - I’m a singer of folk songs - but they’re the real ones; from allover the United States. From way down in the bayous of Florida and from up in Minnesota and it had just a snapshot kind of of each one of them. And I still remember a lot of those (sings snippet) ‘He Got Better Things For You’ which was gospel. Then you had (sings snippet) 'Fishing Blues' - wonderful songs. So - Harry Smith - 'The Anthology of American Folk Music'.” Peggy Seeger: On stage, Band on the Wall, Manchester, 18th June 2015 Peggy Seeger: The Anthology of Amercian Folk Music- released 1952 Peggy Seeger https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_sq2du1_JOLINO-BESSERAwb_WELLIS.jpg Jolino Beserra: Mosaic Artist ELTON JOHN: CAPTAIN FANTASTIC/ & BROWN DIRT COWBOY "Elton John – for me – ran at his peak in the years I was at high school. Madman Across The Water came out around ’71, and he was the first person that I became a fan of and I would spend nights getting tickets. And everything about his craziness was sort of inside me cos I came from a very repressed background and there was just something I could experience. Busting loose, being crazy and creative... And Captain Fantastic was sort of my ‘American Graffiti’ summer. This came out in ’75 and it was a song everybody played. I was the editor of the yearbook and everybody talked about me being the crazy Elton John fan for four years and he’s finally leaving! (laughs) But it was. I was so absorbed and the song ‘Someone Saved My Life Tonight’ always made me think, ‘You can get out.’ You can somehow be different from background that I don’t really want to go into too much, but I really thought I would be trapped in a certain kind of life. And this and getting out of my school and thinking, ‘This is the change in my life to being an adult,’ to making decisions that were gonna get me out of the little town I was in, and what I had to do to make sure I didn’t screw it up. And this is just four years of listening to his music, in particular, amongst others that I really loved, but this one was sort of my anthem. And that’s why when you mentioned an album, I really thought of this summer. 'Cos after this summer, everything was totally different to me, when I got to college and started to become my own person... I met David while I was still in college. And I went from being engaged to be married, to, a few months later, moving in with this character. And I reflected again on this song, ‘Someone Saved My Life Tonight’, and meeting David changed the whole course of my being able to be honest and be the person I was meant to be. So that’s why this album is important to me." Jolino Beserra: At home Silver Lake, Los Angeles, 13th April 2014 Elton John: Captain Fantastic and the Brown Dirt Cowboy released 1975 Jolino Besarra https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_pmvcwf_DAVID-BYRDwb_-William-Ellis.jpg David Edward Byrd: Graphic/Poster Artist ORIGINAL BROADWAY CAST: FOLLIES "Well, I was a struggling graphic artist and I got this job for this new Stephen Sondheim musical, Follies. And I called up the ad agency that was handling the art and said, ‘This is David Byrd, I’m an artist, and could I present a sketch?’ And they said, ‘Oh no, we’ve paid all the sketch artists. We only have a budget for 14.’ And I said, ‘Well, how about if I do it for free?’ And they said, ‘Oh, well, we love free!’ So I did a sketch and oddly enough it was chosen, much to my total surprise. I just wanged it out and did it, you know? And it became kind of a legendary show that was very large. It had a cast of 48 and huge sets and it was about the end of an era, about the end of the Ziegfeld era, really. Those girls and those... They were plotless. They had vaudeville acts between... They had six-foot girls walking around in glamorous costumes. And, ironically, the show opened on the night of my 30th birthday - it’s an album I always revisit and I’ve done four different productions in different places. So I’ve done four different versions of this. I did a profile. You know, I’ve just done every possible idea I could get from that original idea of the Follies girl with the title being her head dress and the crack symbolising the end of an era. It’s a metaphor. So that’s kind of it." WE: Would you say that that album represents as much to you musically? Or would you say that there are any other bands or ensembles or records that musically really speak to you very deeply? DB: "I like this show particularly because it’s a pastiche that’s extremely eclectic. So it represents every possible type of music pre-1940. And I was born before Pearl Harbour. So I know everything from Victoriana, Ragtime, Operetta, Big Band Jazz, little band jazz. And popular music, Gershwin. I mean, it’s all in this show." WE: So it gathers all the strands of your own taste in music, I guess. DB: Yes, and even though I did many rock posters, as I’ve grown older, I listen more to Billie Holiday and Louis Armstrong and Ella Fitzgerald and Chris Connor and people like that than I do rock music. And I don’t know why that is. That’s just it. Though there are some new bands that I think are pretty sensational. And one of my favourite guys was Lou Reed who we just lost recently - and Leonard Cohen." David Edward Byrd at home Silver Lake, Los Angeles, 13th April 2014 David Edward Byrd: At home Silver Lake City, Los Angeles, 13th April 2014 Original Broadway Cast: Follies David Edward Byrd https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_ezrvm7_KMcBRIDE__WilliamEllis.jpg Karen McBride: Photographer ELVIS PRESLEY: LIVE IN PERSON/ BACK IN MEMPHIS "It's 'Elvis Live in Person Live at the International Hotel Las Vegas. It's a double album with 'Elvis Back in Memphis' as well! Is my favorite because because this album transformed him - it took him away from the movies which was a love hate relationship with his fans - and himself I think. It moved him forward from the Sun years, this for me vocally was probably the most interesting the most creative and interesting period of his career with alot of his best songs here. It's the blueprint for the future concerts. This was back in the day when there was no autotune, when your singer was a real singer - it was pure talent and that was it unquestionable. Alot of great songs are here - 'Suspicious Minds', 'Can't Stop Loving You' and 'In the Ghetto' which was - and still is a very significant song now, so beautifully sung and deeply felt. The other album of this double has a number of perhaps lesser known songs - 'From a Jack to a King', 'Do You Know Who I Am' - songs you wouldn't normally expect Elvis to sing but it just showed a different side of him, more intimate, another passion." Karen McBride: Night and Day, Manchester, April 2013 Live in Person/ Back in Memphis 1969 Karen McBride https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_ut97u4_IAN-SHAWwb_William-Ellis.jpg Ian Shaw: Musician ARETHA FRANKLIN: LADY SOUL “I pondered over many albums - I was going to bring Aladdin Sane for you by David Bowie ‘cos I wore it out when I was a kid. But it’s got to be Aretha ‘Lady Soul’ 'cos I bought it from Flint market, and I think it was like a quid or something and I’ve still got the original copy, and it’s just great. It’s got all the best songs that she recorded like Chain of Fools, Natural Women, Ain’t No Way - with her sister singing backing vocals. Aretha – Lady Soul." Ian Shaw: Cinnamon Club, Bowdon, 20th March 2015 Aretha Franklin: Lady Soul released 1968 Ian Shaw https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_sahafo_JMorrison_w1LP__WEllis.jpg James Morrison: Musician DUKE ELLINGTON: 70TH BIRTHDAY CONCERT "Well it was the first time I'd heard big band that sounded orchestral - he seemed to cross all genres - it was jazz no doubt about it, but suddenly it was bigger! Apart from that of course - being a trumpeter and loving that instrument - Cootie Williams on there does that great piece 'El Gato' that Ellington wrote for him and I just used to listen to that over and over - sort of saying now that's how I want to sound on the trumpet. So it's one of those albums you grow up with and it's part of who you are musically." James Morrison: Wigan Jazz Festival, July 2012 Duke Ellington: 70th Birthday Concert (Free Trade Hall Manchester, England) 1969 James Morrison https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_e6kaec_VICTOR-BAILEYw_William-Ellis.jpg Victor Bailey: Musician HEAVY WEATHER | ROMANTIC WARRIOR Mr Bailey had to chose two - what can I say? I love these too. Return to Forever - Romantic Warrior Weather Report - Heavy Weather “The two favourite records I have are Heavy Weather by Weather Report and Romantic Warrior by Return to Forever, and I can’t pick one over the other. It’s not anything that complicated, those records spoke to who I really I am which is sort in between being a jazz guy and a funk guy. I love jazz but I love the groove too both those records have incredibly high level of musicianship but always nice feeling. The music after a while got real technical and a lot of guys who had a lot of technique but not the soul, the feeling and the groove. And those two bands had feeling and groove and soul. The compositions were good music – the difference between being heavy and (just) trying to be heavy. Those guys were heavy weight musicians if you look at a record like Heavy Weather none of those songs are complicated and none of them are technical - it’s just really great music. A lot of the Return to Forever music on Romantic Warrior was technically complicated but still good melodies, good music. And of course Stanley Clarke and Jaco were just phew - way beyond. I was already playing like that – playing melodically, playing solos - exploring possibilities on the instrument and Stanley and Jaco and Alphonso Johnson - who was my other favourite were doing exactly the same thing I was doing - but a thousand times better. So the combination of those guys playing bass and the great music and of course everybody else’s performances – Chick, Lenny White and Al Di Meola on the Return to Forever and then with Weather Report – Zawinul, Wayne Shorter, Manolo, Alex Acuña on the drums – just great great music. I like the exploration that goes on in jazz - but still with the groove and with some feeling and some soul and those two records for me do it more than anything else – so that’s it!” Victor Bailey: Band on the Wall, Manchester, 4th November 2011 Weather Report: Heavy Weather released 1977 Return to Forever: Romantic Warrior released 1976 Victor Bailey https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_mwn8f3_EDDIE-HENDERSONwb_William-Ellis.jpg Eddie Henderson: Musician MILES DAVIS: KIND OF BLUE "Well, that record is the world-famous Kind of Blue album by Miles Davis, which was the most-sold jazz record in history. The reason it’s dear to my heart is because Miles Davis was staying at my parents’ house when he made that album. I was in high school and my stepfather was his doctor and I was playing trumpet and going to the conservatory and Miles gave my stepfather the test pressing – you know with no grooves on one side – and so I became enthralled with Miles Davis and then just the music on there is just so classic, you know, with Coltrane on it, you know, and Paul Chambers, Jimmy Cobb…Wynton Kelly, Bill Evans. Yeah, Bill Evans and Cannonball. It was just like the quintessential music of that era, almost of all time. I mean, it really changed the face of quote-unquote jazz music and really changed my life, because seeing him in person - and he took me to a gig when I was 17, 18 years. He stayed at the house. So that album and just that experience is dear to my heart, you know. WE: Beautiful. Beautiful. That is so special. Thank you. EH: Yeah. Yeah. You know, I could go on and on for hours. WE: I’ll bet. EH: But, you know, I think everybody... with that album and that music. WE: Your experience of Miles staying at your house is so unique. EH: Absolutely….and me playing the trumpet too. It made it ever so much more significant to me. WE: When you were very young at that time, did you talk to Miles about the trumpet, and did he talk to you? EH: Well, he wouldn’t just come by like a normal person and say this is this and this is that, it’s just by observation. In fact I may have played one of his records, you know, and he just smiled and said - 'you sound good but that’s me' [laughs] That was an eye-opener right there, you know." Eddie Henderson: Universal Rehearsal Studios, New York City, April 2013 Miles Davis: Kind of Blue released 1959 Eddie Henderson https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_6eb4ms_JON-HENDRICKSw_William-Ellis.jpg Jon Hendricks: Musician MILES DAVIS: MILES AHEAD "Miles Ahead - the title says it all - Miles was ahead of everybody else! "Blues for Pablo’ - there's depth in that you know. The treatment that Spain received from Franco is awful. So we can tell the story in that album and then tell whatever Miles did. Miles got into it himself - he said 'it sounds as if like I'm Spanish' you know. He's into it, he’s really into it. I told Judith that people are gonna think that those lyrics* wrote themselves - cos they come from nowhere, but they cover a whole lot. Me - "Your current project with Pete Churchill based on Miles Ahead - so that record has inspired you both to discover and create your own response to the album." Jon - I like those things that open. Jon starts to sing, laughs and says - “Now after that you gotta have somethin’! You and me are gonna work! Soon as I find out how to write!!” Judith enters the room. Jon “What you got?” Judith - “I have some albums – the Miles Ahead, Freddie Freeloader, Evolution of the Blues Song, Thelonious Monk, the first Hendricks, Lambert and Ross, another Miles Davis Porgy and Bess then I have Basie from ’41 to ’51.” Me - “The cover (Miles Ahead) matches your jacket Jon!!” Judith – “Yes the colours are right!” Jon laughs – “Oh man!” After the photographs were taken Jon spoke warmly about two of his close friends Kurt Elling and Erroll Garner. How Kurt seized a great opportunity at one of Jon's vocal workshops when Jon asked for a volunteer to come onto the rehearsal room stage. Kurt sprang up and their friendship began. Jon thought about 'His brother' - Erroll Garner. “When Erroll Garner came back home from tour he would call me up to sing. When we met we'd embrace and say "I love you man." 'Concert by the Sea' is a great favourite of Jon's, he asked his Judith to play the recording - he was moved to mime Erroll playing an invisible piano, his heart was with his great friend. On the wall hangs the powerful poetic picture of another old friend. John Coltrane playing soprano sax signed by one of my favourite photographers - Roy DeCarava. It's a masterpiece in a moment. Jon talked about it how DeCarava seemed to have made the notes visible - they were "flying from the horn." Jon Hendricks: At home, New York City, 26th March 2015 Miles Davis: Miles Ahead released 1957 Jon Hendricks *Jon Hendricks and Pete Churchill are working on a project based on Miles Ahead https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_v3l1e5_SCOTT-YANOwb2_WILLIAM-ELLIS.jpg Scott Yanow: Jazz Historian and Journalist FLETCHER HENDERSON: A STUDY IN FRUSTRATION "Back in the 1970s there was a record store near my home. One day I saw a copy of the four-Lp box set The Fletcher Henderson Story – A Study In Frustration. I was so excited that I literally ran home to get the money to buy it. It has since been reissued as a three-CD set. It's 64 recordings, dating from 1923-38, feature the Fletcher Henderson Orchestra at its best. Nearly every major young African-American jazz musician of that era was part of the band at one time or another including Louis Armstrong, Coleman Hawkins (he was with Henderson for ten years), Benny Carter, Red Allen, Roy Eldridge and countless others. The music - by what was really the first swing big band is quite exciting, especially the recordings from 1925-29, and this has long been a real favorite of mine." Scott Yanow: Kirk Douglas Theatre, Culver City CA. 28th March 2015 Fletcher Henderson: A Study In Frustration recorded 1923 to 1938 released 1961 Scott Yanow https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_k9o6nn_TOMAS-STANKOw_WILLIAM-ELLIS.jpg Tomasz Stanko: Musician MILES DAVIS: KIND OF BLUE WE “ Mr. Stanko you’ve chosen an album you love very much, I wonder if you can say what it is and why it’s so special for you please? TS “All life for me is ‘Kind of Blue’ - very simple. What is most important - beautiful sound and Miles - ‘Kind of Blue’.” Tomasz Stanko: Kirk Douglas Theatre, Culver City CA, 29th March 2015 Miles Davis: Kind of Blue released 1959 Tomasz Stanko https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_hjkyfu_KIRK-WHALLUMwb_William-Ellis.jpg Kirk Whallum: Musician JOHN COLTRANE AND JOHNNY HARTMAN “First of all I’m a huge John Coltrane fan - obviously, as a saxophonist you can’t go around him you know. And then the fact that his technique really took him to - we could say to the limit of what’s possible on the saxophone. Arguably folks like Michael Brecker came along and expanded that but certainly John Coltrane raised the bar so very high in terms of technique. And then he got to a point it seems really he was searching for something else, something deeper and I think his music was very very spiritual. As a Christian I find that the soul is in his search,. In the meantime along the way he would stop and play these beautiful ballads and soo this John Coltrane - Johnny Hartman ballads record just speaks to me. All the technique that he was capable of showing off - he chose to just speak from his heart and that’s what makes that record special.” Kirk Whallum: The Cinnamon Club, Bowdon, 2nd July 2011 John Coltrane and Johnny Hartman - released 1963 Kirk Whallum https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_0sm8ta_PETER-HOOKwb_WEllis.jpg Peter Hook: Musician NICO: THE MARBLE INDEX "That’s an interesting question: why is so special to you? I suppose the thing is, you know, musical education , as a human being, especially with the culture that we have in England, is vital really and I suppose it sort of defines your character, the people you hang out with, the interests. You know, it is a sort of look into your psyche, if you like, and I don’t know whether it’s a good or bad point that the album I’ve picked is Nico The Marble Index. I think I have always been drawn to groups that are very, very difficult and Nico musically on her own when she worked with John Cale was always quite a difficult – what you’d term difficult to listen to or difficult to interpret musically." Peter Hook: Photographed at home, south Manchester, Nico: The Marble Index released 1968 Peter Hook https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_3ortcs_DAVID-FRENCHw_WILLIAM-ELLIS.jpg David French: Artist JOY DIVISION: UNKNOWN PLEASURES "It’s called ‘Unknown Pleasures’ by Joy Division. I first heard it when I was probably 15 or 16 and at the time they were New Order. Joy Division, as they were, had gone and I discovered them because I was getting into the music that was the precurser of the stuff I was listening to at the time. Looking back on it now I can say that when you’re a teenager you’re full of angst and that kind of thing and it’s a perfect sound track to that feeling I suppose. Joy division came out of the punk scene which seemed quite angry to me, and quite rightly I supopose – although I never really felt angry, even though it was Thatcher’s Britain. I felt depressed more than anything I think and a lot of the current music at the time talked about love whereas this was something different. It felt like it was coming from within. When you listened to music- obviously - you could hear it emanate from the speakers but this one felt like it was coming from inside of me. It’s hard to describe. I was listening to it on the way over here and it was a different sound. A little later I lived in Manchester so I can totally understand where that darkness came from – the weather and the industrial noises that are on the record. There’s a song called ‘She’s Lost Control’ and I used to know a little girl – it’s perfect for certain people. There are certain lines in it that album are just brilliant. In one song he sings “we’ll take a drink and step outside, an angry voice and one who cried” for instance. I think I can say that It was the first piece of music that I thought was art. I mean Classical music is the music that people refer to as art and then we have pop music and rock music but I hadn’t really thought of that kind of contemporary modern music as art but this is to me. Talk about ahead of it’s time! It still feels contemporary listening to it right now. When I was a kid I played football, I wanted to be a football player but I did art too – I drew as well. This allowed me to feel that art was very valid. It was a valid occupation, a valid practise. It made me think its ok to do art – it’s a good thing to do art – it’s got value. Before that I didn’t really feel that, other than make drawings and that’s it, but this moved me so much." David French: Culver City, March 2015 Joy Division: Closer released 1980 David French "It’s called ‘Unknown Pleasures’ by Joy Division. I first heard it when I was probably 15 or 16 and at the time they were New Order. Joy Division, as they were, had gone and I discovered them because I was getting into the music that was the precurser of the stuff I was listening to at the time. Looking back on it now I can say that when you’re a teenager you’re full of angst and that kind of thing and it’s a perfect sound track to that feeling I suppose. Joy division came out of the punk scene which seemed quite angry to me, and quite rightly I suppose – although I never really felt angry, even though it was Thatcher’s Britain. I felt depressed more than anything I think and a lot of the current music at the time talked about love whereas this was something different. It felt like it was coming from within. When you listened to music- obvioulsy -you could hear it emanate from the speakers but this one felt like it was coming from inside of me. It’s hard to describe. I was listening to it on the way over here and it was a different sound. A little later I lived in Manchester so I can totally understand where that darkness came from – the weather and the industrial noises that are on the record. There’s a song called ‘She’s Lost Control’ and I used to know a little girl – it’s perfect for certain people. There are certain lines in it that album are just brilliant. In one song he sings “we’ll take a drink and step outside, an angry voice and one who cried” for instance. I think I can say that It was the first piece of music that I thought was art. I mean Classical music is the music that people refer to as art and then we have pop music and rock music but I hadn’t really thought of that kind of contemporary modern music as art but this is to me. Talk about ahead of it’s time! It still feels contemporary listening to it right now. When I was a kid I played football, I wanted to be a football player but I did art too – I drew as well. This allowed me to feel that art was very valid. It was a valid occupation, a valid practise. It made me think its ok to do art – it’s a good thing to do art – it’s got value. Before that I didn’t really feel that , other than make drawings and that’s it, but this moved me so much." David French: Culver City, March 2015 Joy Division: Unknown Pleasures released 1979 David French https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_3058ac_PETER-INDw_William-Ellis.jpg Peter Ind: Musician, artist, writer CHARLIE PARKER: CHARLIE PARKER WITH STRINGS “It’s not so much with a particular album - although there are things on certain albums – I mean I can choose from a whole bunch of things. Sue suggested I recommend the Samba Con Salsa album from The Bass Clef, it’s lively – yeah that’s good. But then what I think the contributions of Lennie (Tristano) and what Bird did – you know. Bird recorded with strings and it was unheard of in those days. That was the commercial guy saying ‘Look, lets put this guy with a string section’ - the album ‘Bird With Strings’ is just incredible. And a lot of musicians at the time thought ‘Aww …Birds copped out…..it’s commercial’. But his playing was so great on that you know. And what it did it enabled people to hear the melody - which was played by the strings – and hear what Bird did with it , you know. Then It was like a new thing that hadn’t happened before. Created a wider awareness, I think so. But the point is, at the time when it came out, jazz was at a peak and the following was quite huge in America you know. So that as jazz musicians we were inclined to see the rock scene as kind of ‘Oh did it matter – it didn’t really count’. All that’s gone and now it’s like ‘Oh jazz – what is that’? ( laughs ) So again if I am successful, as a writer or an influence, to get people to reappraise the music - because yeah you can have in the Classical world you can have the Strauss Waltz’s and all that, which is lovely music, or Tchaikovsky which is even greater – but there’s also Bach, Mozart, Beethoven. Out of those three Beethoven seemed the least creative to me – to my ears – but maybe it’s because it’s straightforward harmony. I mean Bach, who was before any of them was so melodic and so incredibly aware of music and how it could be described. WE And it is so rhythmic as well isn’t it PI that’s right yeah.. yeah So, if I could have an influence in helping people to realise the truth, that underlying, they’d get out of this commercial vein. Not to eliminate but to say ‘Hang on, there’s more to it than that’ you know. So that’s what I … one of the things I’m working on you know. The other thing, which is aside from that is the book I’ve just written. It ostensibly has a jazz context but it came out of the influence of the Parliamentary Jazz committee, cos the Labour and Tories they love the music – so they’re all on the stair together and if only they could apply to politics (laughs) it would be wonderful you know. So where do we go? But the arts, the music and especially jazz has a hope to it and that’s what drives me on you know. So here I am at 86 and what do I do next. (laughs) The recent book I’ve written is ‘I am, therefore I think’. And it’s about where science has avoided the truth. And the science that is lauded is, in the main, that boosts the world economy. And there were scientists who added so much to knowledge whose work has been ignored. I wrote one book about it – about the scientist Wilhelm Reich – you know about this man? WE No I don’t. I’ll leave one with you before I go. And really it was when I was in New York – Reich had been a student of Freud the early part of the twentieth century and he was very perceptive and he understood the psychology beyond Freud. And out of that he showed how it’s not just psychology – it’s to do with biological energy and it’s the underlying biological energy that forms our opinions. So his research was into that. Eventually he realised that this energy is everywhere, things that a lot of cultures have known – always known – but which the West ignored you know. Bio energies – well it’s just within us.” Peter Ind: Photographed at home, Shepperton, 19th May 2015 Mr. Ind is holding his album 'Looking Out' released in 1961. This was my suggestion. Charlie Parker: Charlie Parker with Strings recorded 1949 and 1950 Peter Ind Lennie Tristano https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_hl4fxz_BOBBY-WELLINSw_William-Ellis.jpg Bobby Wellins: Musician CLIFFORD BROWN: BLUE AND BROWN "Well, what happened with me was I’d had a nervous breakdown in the RAF. You get a medical - the psychiatrist’s word is Law - I don’t know if it still is – that is the RAF psychiatrist. I was medicalled out and sent back home to Glasgow. In the meantime I used to do these little jazz sessions at the military band bit with a trumpet player called Ken Wilkinson. The next thing, I got a ticket sent through to say - ‘I’ve got you a gig at Slough Palais three nights a week, here’s your railway ticket – get on the train, forget about everything else’ - because I was frightened to go out of the house almost at that point. So I went and it was great and it started bringing me out of myself a bit. But the main thing was I was still in a bit of a depression, so I felt bloody awful one time - and I didn’t seem to be making any kind of fluent headway. Well how do you do this?– how does it all work and everything else? So I was at the point of really considering not bothering living anymore and he came in, Ken, because I was staying with him and his wife in a room, and he said ‘Hey, listen to this’. He put on Clifford Brown and I went ‘Ah’ - it was almost as if Clifford Brown was saying ‘Come on, come on, fuck all that, this is it, this is what it’s all about – get your head down and get on with it’ It only happened twice in my life. The other time was in France, when I was over in France and I was feeling the same way again (laughs) and this guy put the juke box on in a little French café and the next thing was Bird playing ‘Just Friends’. (BW sings) Almost again like him saying’ Oi, enough of that shit, this is what’s happening now. Let’s get on with it.’ But I mean, it’s a bit of fantasising I understood that. But Clifford Brown …all time favourite ‘Blue and Brown’ …that track was it. When I saw this headline that he’d been – 25 years old – this crash.. I was absolutely heart broken. I couldn’t believe it. I’d thought ‘when he comes over here I’m going to not only go and see him but I’m going to talk to him’ and it never happened. But he’s always been the one. I absolutely adore him. His playing is fantastic; still is to this day. Love it." Bobby Wellins: The Cinnamon Cliub, Bowdon, 9th May 2015 Mr. Wellins is holding the definitive publication on the subject. Keeper of the Flame - Modern Jazz in Manchester 1946 - 1972 by Bill Birch. Clifford Brown: Blue and Brown Bobby Wellins https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_tgs3in_JEFF-GAUTHIERwb_WILLIAM-ELLIS.jpg Jeff Gauthier: Executive Director The Jazz Bakery MILES DAVIS: NEFERTITI “The album is Nefertiti by The Miles Davis Quintet - special for so many reasons – it changed my life. The musicians are Herbie Hancock, Wayne Shorter, Ron Carter, Tony Williams, Miles Davis. There’s so much interaction and interplay between the musicians and you really get the feeling there’s some kind of wonderful science experiment going on and the musicians are even surprised by what’s happening. I understand when they recorded this album they walked into the recording studio and Miles had the tunes on music stands waiting for them, there was no rehearsal - in fact the rehearsals were the first takes and (the album) was mostly the first takes. You come to find some of the later CD releases of the album they have some of the second and third takes and it’s always the first takes that were the more interesting – and it’s really a genius record.” Jeff Gauthier: Kirk Douglas Theatre, Culver City CA, 29th March 2015 Miles Davis: Nefertiti released 1968 Jeff Gauthier https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_cdvpqx_PHILIP-VAUGHANw_WILLIAM-ELLIS.jpg Philip Vaughan: Artist JOHN COLTRANE: A LOVE SUPREME “I was a student at Cambridge and I ran into a friend of mine Peter Silwood-Cope who was a jazz fanatic and I never really sort of listened to jazz very much before then - he was a trumpet player and loved the saxophone too. And so one way and another he introduced me to all the bebop generation of jazz musicians and John Coltrane was the one I sort of connected to the most and particularly this album ‘Love Supreme’ was the one that just sort of hooked me right away - it’s been with me ever since – I just can’t get it out of my head.” Philip Vaughan: Culver City CA, March 2015 John Coltrane: A Love Supreme released 1965 Philip Vaughan https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_wjc8ep_GENE-CIPRIANOw_WILLIAM-ELLIS.jpg Gene Cipriano: Musician CHARLIE PARKER: CHARLIE PARKER WITH STRINGS “When I heard it I said ‘wow- this is great’. It’s just a great album that Charlie did - the way he wrote for the strings and then Mitch Miller played oboe on it. It just got to me, even today it’s like I’m playing it for the first time. It’s just great - Charlie Parker was something special. My other album that I liked - because I was a big fan of Stan Getz and Dizzy Gillespie - an album called ‘For Musicians Only’* Stan Getz, Sonny Stitt and Dizzy Gillespie. It’s just a tremendous album; they played tempos so fast. Stan said ‘I kept up with those guys’ Stan Getz said that!! Even today when you listen it says something special.” Gene Cipriano: The Blue Whale, Little Tokyo, LA, 30th March 2015 Charlie Parker: Charlie Parker with Strings recorded 1949 and 1950 Gene 'Cip' Cipriano * For Musicians Only- released 1958. With John Lewis, Herb Ellis, Ray Brown, Stan Levey. https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_gbx9b8_MAX-PRESNEILLw_WILLIAM-ELLIS.jpg Max Presneill: Artist A COMPLETE INTRODUCTION TO NORTHERN SOUL “It’s a compilation album of Northern Soul music and it’s less this particular album and more that it was these kinds of sets that made a huge difference to me. I can remember a day when I found the 100 club and walked in. I heard this soul music – this was about 1979/80. To this day I go and dance to Northern soul maybe once a month. So, even in California, it’s had that long an effect, that long a relationship. So in all of the albums that I've been close to in one way or another it’s this style of music that’s kept me actually interested. So, I’m 52 and still dancing!" Max Presneill: Culver City CA, March 2015 A Complete Introduction To Northern Soul released 2008 Max Presneill https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_fwrbsm_ALISON-DIAMOND_wb_William-Ellis.jpg Alison Diamond: Musician SONNY ROLLINS: SONNY ROLLINS IN JAPAN “The one I’ve chosen is Sonny Rollins in Japan. I’m a big Sonny Rollins fan but this particular album was the one that kind of opened the door for me into modern jazz. I was at college as a first year student at Leeds and I knew bit about older styles of jazz because my dad had introduced me to Coleman Hawkins and Ben Webster, but I was finding it hard to get my head round more modern styles. So I was sitting in the college library listening to various great jazz players and then I put on this Sonny Rollins album and it was kind of like a window opening and the sun coming in and I just got it then. Some players you find you admire them for the technical ability and you can see what they’re doing and they’re astounding technicians. And some people speak directly to you and I’ve always found Sonny Rollins to be that player for me so I’m very happy to pick one of his albums for the project.” Alison Diamond: The Cinnamon Club, Bowdon, 25th June 2015 Sonny Rollins: Sonny Rollins in Japan released 1973 Alison Diamond https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_15k6yl_ANTHONY-WILSONw_WILLIAM-ELLIS.jpg Anthony Wilson: Musician THE BAND: THE LAST WALTZ "The album I brought is one of my most treasured possessions: the actual 3-LP set ‘The Last Waltz’ by The Band that I got when it was originally released — Probably around 1978 or ’79, I think. '’The Last Waltz' was also released as a film, directed by Martin Scorsese. So it must have been around my 10th birthday when my mum took me and a group of good friends to see this movie at the Cinerama Dome in Hollywood. It was, of course, truly amazing. Loud, epic, and unbelievable to witness on that huge screen. I had already listened to some of the albums that my mum had in her collection by ‘The Band’, and a lot of the people who appeared in the movie were favourites of mine already, like Bob Dylan and Joni Mitchell. Dr. John, Neil Young, and Ringo, all of these people. So we piled into the car and went to see this movie and I was completely blown away by the music, by the performances, by the songs. We all were. I just loved everything about it. I got the album and just played it to death. I know it by heart. To me, this album still embodies a lot of what I find the most essential in music. All the performances are filled with so much commitment, so much power, and so much presence. Just listen to The Band play ‘The Night They Drove Old Dixie Down’ here and you’ll know exactly what I mean. It’s astonishing. These are artists who, at that time, were at the peak of their artistry. To see Joni Mitchell; The Staples Singers; the basically one-camera close-up of Muddy Waters singing ‘Mannish Boy.’ To experience the great orchestral arrangements by Allen Toussaint and the huge recorded sound on vinyl or any format. This album is just a beast! I didn’t think of it this way when I was a kid but now, looking back, I can see that the kind of music that The Band played, that Joni Mitchell played, Neil Young, Bob Dylan, Emmylou Harris, Van Morrison, it was a mixture of all of the roots of American music, expressed so beautifully. There was blues, there was jazz and often a kind of ragtime feel that I really love, there was country music and gospel; all kinds of folk forms existing together in an organic way, and just great, great songs and great songwriting. And even in a kind of jam session-like, super amped-up party atmosphere, all the performers demonstrated a great sense of focus in bringing the best out of each song they played. All of that resonates with me more and more as I focus on increasing my ability to render songs themselves as vividly and specifically as possible. And in making my own music, I find it crucial to stay connected to all the things that are root musical sources for me. ’The Last Waltz' serves as a kind of model for me in doing that. I don’t only love jazz. I love a huge range of music, and ‘The Last Waltz’ is surely one of the most important and enduring records for me in the way it encompasses all that I started out loving, and continue to love, about music." Anthony Wilson: On stage, Cody's Viva Cantina, Burbank CA. 31st March 2015 My birthday - what a night...! Anthony was the featured player at the legendary John Pisano's Guitar Night The Band: The Last Waltz released 1978 Anthony Wilson https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_y9vs3y_DAREK-OLESwb_WILLIAM-ELLIS.jpg Darek Oles: Musician LEE KONITZ QUARTET: LIVE AT BIRDLAND "This album was recorded in 2009 ‘Live at Birdland’. It’s a quartet of Lee Konitz, the great alto player, with marvellous pianist Brad Mehldau, bassist Charlie Haden, drummer Paul Motian. This album is very special to me for a variety of reasons. It’s one of the last recordings of Charlie Haden, my former teacher, mentor and friend and an inspiration to me. Also probably the last recording of Paul Motian – who passed away shortly afterwards. The way the musicians play together on this concert is just amazing. The level of conversation, the high level of improvisation, the way they communicate and improvise together is just outstanding. It’s an incredibly high level of jazz improvisation, something to aspire to for all us musicians. Having Lee playing so beautifully, you know, and everybod else… rhythm section Charlie Haden, Paul Motian - it’s one of the greatest rhythm sections in the History of jazz. They could move earth you know just by swinging together. Brad Mehldau, who I know very well because I’ve played with him a lot - I think this is one of his finest works. Playing with this group of musicians he’s so inspired. The way Brad and Lee converse, the way they conduct a dialogue, the way they listen to each other and respond its incredible. It’s a great, great band, a great chemistry and a really great feast of improvisation. This is a fairly new album, 2009. I have a bunch of favourite albums, albums that I would take on a desert island. The usual suspects like ‘A Love Supreme’ by John Coltrane or ‘Kind of Blue’ by Miles and a bunch of others but this one feels special to me because of Charlie Haden’s passing last year and Paul Motian a few years ago. It’s just this great moment – the last chance to hear these people play together so beautifully. Most of them are of an advanced age but still maintain their level of musicianship and wisdom, this musical wisdom. Brad being the youngest but he’s such an incredible genius. Obviously so inspired by working with Lee Konitz and Charlie Haden and Paul Motian." Darek Oles: Hollywood CA. 2nd April 2015 Lee Konitz Quartet - 'Live At Birdland' released 2011 Darek Oles https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_z2jhht_TOM-SCOTTwb_William-Ellis.jpg Tom Scott: Musician MILES DAVIS: MY FUNNY VALENTINE - IN CONCERT “The album I choose was a concert by the Miles Davis Quintet. Which was Herbie Hancock, George Coleman on saxophone, Ron Carter and Tony Williams on bass and drums. The concert as I understand it, took place at Carnegie Hall, produced two complete LPs, and they kind of put the fast tunes on one recording which is called ‘Four And More'- Four being the name of a famous Miles Davis tune. The other one is the one that I’ve brought called My Funny Valentine which contains the more low key numbers – the ballads. And when I was in high school, I was in 9th maybe 10th grade – I got this record and was so completely hypnotised by it - it was so gorgeous in the sense that it took on an importance for me – couple of tracks in particualr - Stella by Starlight for one. It was far more than five guys jamming on a song, it had ups, and downs – it almost had a symphonic quality to it. I would take you all these emotional places and of course everything being improvised it was just a tribute to the genius of these five musicians. Something I really learned from this record – the value of not playing – that space is one of the best elements you can exercise in music, and I spoke to Herbie Hancock about this later, we’re friends, and I told him how much this record meant to me and I said it was amazing the way Tony Williams would lay out for a while but then when he comes in ‘de ding ding ding ding de ding ding ding ding – it’s like Holy God it’s just so unbelievable. And he said ‘you know part of that was due to the fact that we couldn’t hear each other very well so Tony just decided to just lay out and listen.’ (Much laughter) But whatever the reasons this turned out to be, in my book one of the supreme jazz recordings of all time, and I used to get up, I’d wake up - I had one of the early phonographs that had a headphone out jack output – it was Koss I think, I had this thing and I would set my alarm for half an hour early before school – like 6.30 or whatever it was and I’d have my headphones on just put on Stella by Starlight and I did that almost every morning for months! (laughs) - it was just that meaningful for me. Since of course I’ve transcribed some of the (album) – I could play all of George Coleman’s tenor sax solo and some of Herbie’s stuff. It’s just that good – it’s just spectacular genius jazz playing.” Tom Scott: Hollywood CA, 9th April 2014 Miles Davis: My Funny Valentine - Miles Davis in Concert released 1965 Tom Scott https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_9swyj1_KIRK-SILSBEEWB_William-Ellis.jpg Kirk Silsbee BENNY GOODMAN: THE 1938 CARNIGIE HALL JAZZ CONCERT “This is the Benny Goodman Carnegie Hall Jazz Concert from 1938. And to give you an idea of what this album means to me – my father brought it home when I was in the 7th grade. Here I am, neck deep in the Hollywood renaissance of The Byrds, Buffalo Springfield, The Doors, The Mothers of Invention and here’s this album that my dad puts on and there’e something very compelling about it. I can’t turn away from it. I’m listening to this over and over and over again. And what this album was for me was a long hallway with a series of doors each door was special, each door had something interesting for me to investigate. It’s my first serious encounter with swing music, it’s my first encounter with Benny Goodman’s playing and getting to know this prolific improvisor. My first encounter with the music of Lester Young. Lester Young sits in on the Honeysuckle Rose jam session where the band is playing in the key of G but his solo is in Ab. It’s hearing the Ellington soloists for the first time, Johnny Hodges, Ben ‘Cootie’ Williams and Harry Carney and starting to understand how special those individual voices are. And then there’s the Goodman band itself- If not the best white swing band in the country – maybe Glen Gray and his Casa Loma band can give them a run for the money – I don’t now, but probably the best white jazz orchestra in the country. I’m hearing Harry James for the first time - but I’m not hearing the Harry James that the larger American public would come to know – the syrupy populariser – I’m hearing Harry James the jazz player. Not too long out of Denton Texas, still enthralled to his Louis Armstrong roots. I’m hearing Gene Krupa - very good solid rudimentary swing drummer. And then of course you’ve got Sing Sing Sing with those wonderful Stravinsky-like trumpet voicings and the other-worldly impressionist Jess Stacy piano solo. All this stuff – it took me years to assimilate, to masticate but I did it because it kept pulling me back. And it was as I say a hallway with a series of doors and I went through every one of them and they all led me to my present predicament as a jazz journalist.” Kirk Silsbee: Hollywood CA. 10th April 2014 Benny Goodman: The Famous 1938 Carnigie Hall Jazz Concert released 1950 Kirk Silsbee https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_lkktdj_DAVE-BERRYwb_William-Ellis.jpg Dave Berry: Musician ARTHUR "BIG BOY" CRUDUP: TREASURY OF JAZZ “I’m from the generation like the Rolling Stones and the Beatles who grew up in the 50’s. Our first influences were early Elvis, very early Elvis from '55 onwards until he went into the army in 1958. As John Lennon said - ‘That’s when Elvis died, when he went in the army’. After that there was all the films and that stuff. When I first heard Elvis I listened to great tracks - Blue Moon of Kentucky, That’s all Right Mama, My Baby Left Me - all these great songs. As young people in Sheffield - very young just leaving school, we didn’t know where these songs were from. - we actually thought they were Elvis songs. When you’re young you think the guy who’s singing them wrote them. So the fact that I’ve delved back - along with a lot of my colleagues at the time - like Joe Cocker here in Sheffield and people like that. We went back to see where these songs came from. This is where I discovered Arthur "Big Boy" Crudup who wrote That’s All Rght Mama and My Baby Left Me, songs that Elvis recorded. Unfortunately I never saw "Big Boy" Crudup perform anywhere. That’s really the reason I’ve chosen this album. I still have the original that I bought way back.. My Baby Left Me is on here, That’s All Right Mama isn’t on here but you get the gist, the feeling. It’s all down home stuff. T-Bone Walker was down as Treasury of Jazz as well. Another one of my heroes from that time was Chuck Berry. I’d read from the limited music papers of the time - probably Melody Maker as dad used to take Melody Maker every Friday, so I would be reading the jazzy columns. When rock and roll came in T-Bone Walker was mentioned as an influence with Chuck Berry - especially with his theatricals and his guitar playing. That’s how I discovered T-Bone Walker by reading it in a jazz magazine. Then in 1962 I was bold enough to go The Free Trade Hall in Manchester to see Memphis Slim, T Bone Walker Sonny Terry, Victoria Spivey and Brownie McGhee all on the same show - and John Lee Hooker. That again was one of my very early influences, more leaning towards the jazz side because of my upbringing. I always tended to swing towards the jazzy people. My father was a jazz drummer, only semi professional but that’s where I got my first interest in music. It’s only years afterwards that you realise the influences that your parents had on you but I just accepted it. There was a drum kit and my first instrument was playing drums - much to the annoyance of the neighbours. That was my first influence - jazz and I’ve gone back to it as the years have gone on. I didn’t want to know in the 60’s but as the years have progressed you again go back to your roots - very much as in life I think. You start thinking about your roots more than you do when you’re 26 or 27; you don’t care then do you? All the women are around aren’t they!” Dave Berry: Photographed at home, near Sheffield, 2nd March 2015 Dave Berry Arthur Crudup : Treasury of Jazz released 1962 https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_19rjv3_CHRIS-BODEN_wb_William-Ellis.jpg Chris Boden: Sports Journalist ELECTRONIC: ELECTRONIC “It’s ‘Electronic’ by Electronic. I was a big fan of New Order and The Smiths and it just seemed so exciting the idea of various sections, Johnny from the Smiths and Bernard from New Order, coming together as they were in the 70’s and 80’s, that sort of super group. They obviously put out the single in 89 and it’s as perfect a pop record as you’ll ever hear, with Neil Tennant and Chris Lowe from The Pet Shop boys. The album came out two years later and I was just taking my GCSE’s that summer, believe it or not. I can even remember the week it came out; it was the week of the European Cup Final. Marseille and Red Star Belgrade that Chris Waddle was playing in, who I got to know quite well when he was manager of Burnley. It was an exciting time. Summertime, exams and a record from two absolute idols of mine. If you look at the pair of thems careers you’ll probably pick out stronger records than that but for me its absolutely spell binding from beginning to end really. It’s a good record.” Chris Boden: Manchester Metropolitan University Business School, 13th February 2015 Electronic: Electronic released 1991 Chris Boden https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_05cdq3_AMP-FIDDLER_wb_William-Ellis.jpg Amp Fiddler: Musician, Record Producer HORACE SILVER: SONG FOR MY FATHER "It’s Horace Silver ‘Song for my Father’. My brother had this record and I was a kid. He had a ton of jazz records. This one stood out to me because my father and I had such a great relationship. Then, when he played the record for me, the whole record hit me in a way that I really got jazz. I was too young at the time to really get jazz because I wasn’t a musician yet. Then, when I became a musician, I really thought about the impact that it had on me as a kid. It became one of my favourites because we ended up playing those songs and songs from the record and playing that record quite a bit. Horace Silver became one of my favourite piano players because of his arrangements and his way of creating melodic and harmonic instances that were beautiful. He’s always been one of my favourite pianists." Amp Fiddler: Band on the Wall, Manchester, 2nd November 2014 Horace Silver: Song For My Father released 1965 Amp Fiddler https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_hlpflj_TAD-HERSHORNwb2_-William-Ellis.jpg Tad Hershorn: Archivist, author and photographer DINAH WASHINGTON: DINAH JAMS "My name is Tad Hershorn, I’m an archivist at the Institute of Jazz studies at Rutgers University. Probably the most influential jazz record for me was the recording ‘Dina Jams’ - Dina Washington – it was a spontaneous jam session. You had great people in town, a quick overnight on arrangements, opening the door to everybody’s friends and Dina Washington - always in command. I mean, you had a trumpet section of Clifford Brown and Clark Terry and Maynard Ferguson. Saxophones, Harold Land. Great pianist.(Junior Mance, Richie Powell) The audience - which is pretty raucous, is just as great as the music itself. When those records - like that, turn your ear as decisively as that one did towards - in my case, jazz music you treasure it and never get tired of listening to it. I’m sure you’ve heard that story – before? WE - No that’s a new one on me – no TH - Well, I mean just in terms of enthusiasts who hear something and it really does change their lives. So, anyway, sooner or later maybe I’ll get you to take my picture with that. Ok? You take care." Tad Hershorn: ARChive of Contemporary Music, New York City, 20th September 2014 Dina Washington: Dinah Jams released 1954 Tad Hershorn Norman Granz: The Man Who Used Jazz For Justice by Tad Hershorn. Foreward by Oscar Peterson Reviewed by Sebastan Scotney: London Jazz News University of California Press - Publisher https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_blyfrx_ROGER-BEAUJOLAIS-wb_WELLIS.jpg Roger Beaujolais THE GRATEFUL DEAD: LIVE/DEAD "Live/Dead changed my perception of music when it came out in 1969. There was more jamming than I'd heard before & I loved the interplay between guitar, bass & drums. The Grateful Dead could be tight too & they seemed to have the mindset that less was more which appealed to me. Less egos - more listening. I'd never heard jazz at this point having grown up in a provincial non musical family. There was only a radio & I knew all about the pop & rock of the sixties. So this album helped me to appreciate improvisation & musicianship & was a huge stepping stone for me towards jazz. The first 3 sides of this double album (over 50 minutes) are 4 songs with different feels & grooves (one in 11/8) segued together. The last side has a 10 minute free track. And a slow moody blues. Jerry Garcia & Phil Lesh were an inspiration to me." Roger Beaujolais: Richard Goodall Gallery, Manchester, April 2014 The Grateful Dead: Live/Dead released 1969 Roger Beaujolais https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_864xd5_KERRY-DORFwb_-William-Ellis.jpg Kerry Dorf THE WHO: QUADROPHENIA Kerry Dorf: ARChive of Contemporary Music, New York, 18th September 2014 The Who: Quadrophenia released 1973 https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_aeic21_PETER-FISHwb_-William-Ellis.jpg Peter Fish: Musician JOHN COLTRANE: THE CLASSIC QUARTET COMPLETE Peter Fish: The ARChive of Contemporary Music, 19th September 2014 John Coltrane: The Classic Quartet Complete released 1998 https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_0hj8bg_GUSTAVO_wb_-William-Ellis.jpg Gustavo Bernal PETER GABRIEL: SO Gustavo Bernal: ARChive of Contemporary Music, New York, 18th September 2014 Peter Gabrial: So released 1986 https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_7dfd2w_DEAN-MELLISwb_-William-Ellis.jpg Dean Mellis: Motion Graphic Designer GEORGE HARRISON: ALL THINGS MUST PASS Dean Mellis: off White Steet, Tribeca, New York, 20th September 2014 George Harrison: All Things Must Pass released 1970 https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_cv3d79_CLARA_JULIA-P_ROWANwb_-William-Ellis.jpg Clara-Julia Péru LOU REED: BERLIN Clara-Julia Péru: ARChive of Contemporary Music, New York, 20th September 2014 Lou Reed: Berlin released 1973 https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_79epzb_PAUL-JONES_cwb_-William-Ellis.jpg Paul Jones: Musician, broadcaster LITTLE WALTER: BEST OF LITTLE WALTER "Actually all that matters about Walter is the huge influence he had on all harmonica players that followed him, including me. There are other important harmonica players in that era of Chicago Blues, notably the other Walter, Big Walter Horton and Sonny Boy Williamson. There are lots of others as well – James Cotton, Junior Wells. I love them all but Walter is the one who exerts the most influence. He’s the person who really broke modern harmonica through from how it had been before. He was, in a sense, the Charlie Parker of harmonica. Not because he took it into bebop, he didn’t understand the bebop changes and all that sort of stuff. But what I mean by it is that before him it was completely different from how it was after him. We all play the way we do, and are all able to experiment in the way we experiment, because of the changes that he made in playing modern electric blues harmonica. The other thing about Walter is he’s a very underrated singer. Interestingly in an interview once, John Lee Hooker was asked who his favourite Blues singer was - apart from himself and he said Little Walter. When he sings a song you really know what the song is about. Now that ought to be the case with everybody but it’s not. A lot of time you know what the singers about, what his life is about, what his attitude to women is or what his attitude to this or that political or social situation is. (with) Walter - you know what that song is about, he gets inside the song. He sounds really sincere and when he sings ‘Last Night’, as he does on this album ‘I lost the best friend I ever had’ you can almost hear the heartbreak in his voice. It’s beautiful." Paul Jone: The Cinnamon Club, Bowdon, 26th September 2014 Little Walter: Best of Little Walter released 1958 Paul Jones https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_8tgdas_AD_A_Z_O_FARRILLwb_William-Ellis.jpg Zack, Arturo and Adam O'Farrill: Musicians AT HARLEM SCHOOL OF THE ARTS Zack O'Farrill "My name is Zack O’Farrill and the record I picked is Carla Bley's ‘I Hate To Sing’. This is a special album for me because it’s an album that my dad used to play for us when we were kids and that I rediscovered later as a teenager. It’s still hilarious but I realised how musically intense and heavy it is too. It’s also fun because my dad is on this and he sings on this. It was amazing to come back to it and see that it’s a record with such a sense of humour but it’s still got a lot of music in there - there’s a lot of music. I think jazz in general has really lost its sense of humour these days - I love this record because it’s very funny!" Carla Bley: I Hate To Sing released 1984 Arturo O'Farrill Adam O'Farrill "It’s an album by Henry Threadgill and his band Zooid. It’s called ‘This Brings Us To Volume 1’. It’s an album I only started checking out kind of recently and it’s really special to me because it’s just a really interesting album. It’s an album that’s really a lot about life and decisions. A lot of music becomes kind of self-indulgent - the sole purpose, the sole drive behind it is music - only music related things. This music and the band they kind of contrast, it’s a very organic, communicative, really personal style of music and the way they play together - they kind of navigate intricate music but know how to be flexible within it and not adhere to, not strictly adhere to, guidelines and rules while having a clear foundation of them." Henry Threadgill: This Brings Us To Vol 1 released 2009 The O'Farrill Brothers https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_w5fett_DAVID-LEAVERolpwb_-William-Ellis.jpg David Leaver: Academic BUDDY HOLLY: BUDDY HOLLY "This is ‘Buddy Holly’, his first album as Buddy Holly.. He’d released a record with his band The Crickets called ‘The ‘Chirpin’ Crickets’ prior to that but this is his first solo album. I think what’s so special about this place (Washington Square Park, Greenwich Village) is in late 58 early 59, Buddy lived about a block away from here. His real name is Charles Hardin Holley. I’m sure Buddy came past this statue of a guy named Alexander Holley and I wonder if he ever stood in front of it. I grew up in Blackburn Lancashire in the 50s and early 60s. It was a grey sort of place and Buddy’s music was so light and bouncy and happy … it was wonderful. Stuff like ‘Peggy Sue’, ‘Rave On’; they were just magnificent. He had some tender songs as well, such as ‘Words of Love’, which is absolutely beautiful. I followed Buddy for a long time and for the last few years I’ve written about Buddy and I’ve travelled to various parts of the States. I’ve been to Lubbock, his home town; Clovis where he recorded; Clear Lake, Iowa, where he died in the plane crash. I’ve been to Duluth where the young Bob Dylan saw him. I’ve been across to Los Angeles to see his star on the Hollywood Walk of Fame next to The Beatles and here, on the East Coast in New York, where he recorded in his apartment some great songs such as ‘Crying, Waiting and Hoping’. Buddy for me is great and this album is very significant because when I was in Lubbock I was interviewed by his best friend from those days at KDAV Radio. I was interviewed live and he asked ‘What song do you want me to play?’ I said ‘I’m a gonna love you too’, which kicked of the album - very bright and breezy. So that’s me and Buddy Holly. Great, great guy." David Leaver: Washington Square Park, Greenwich Village, New York City, 19th September 2014 Buddy Holly: Buddy Holly released 1958 David Leaver https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_uhb6rt_JOE-LOVANOwb_-William-Ellis.jpg Joe Lovano: Musician MILES DAVIS: 'ROUND ABOUT MIDNIGHT “Well, I would have to say Miles Davis ‘Round About Midnight’. I grew up listening to this recording as a kid and the poetic expression - the ensemble playing between John Coltrane and Miles Davis, Red Garland, Paul Chambers and Philly Joe Jones just captured my attention from an early age. And of course their solos within each tune were just so masterful you know. But yet, as a quintet, there was a real ensemble sound that gave me a lot of direction through the years.” Joe Lovano: Birdland, New York City, 21st September 2014 Miles Davis: 'Round About Midnight released 1957 Joe Lovano https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_21za6f_Terence-Blanchardwb_William-Ellis.jpg Terence Blanchard: Musician MILES DAVIS: FOUR & MORE "It's Miles Davis 'Four and More' and the reason why it's so special for me because I remember the first time I heard it as a kid. Listening to that live performance blew me way because you know I had been listening to a very different style of trumpet playing and improvisation. Those guys just kept me in a tail spin trying to figure out what they were doing, where they were going and I remember I was trying to get a handle on what jazz was so I would play each track - and this was back in the days of albums so you're trying to find that spot on the record with the needle! So I used to play 'em over and over and over again. I would play you know, like ‘Four’, I would listen to Miles play then I would only listen to Herbie, go back then only listen to Ron, go back, only listen to Tony. I kept doing man until in my mind - the whole album man, that album had such an impact on my life - you know because it was so forward thinking in the realms of this music - and think about the date that it was recorded. To think that it still stands the test of time today speaks volumes about how important it is." Terence Blanchard: Old Fruit Market, Glasgow, 30th June 2011 Miles Davis: Four & More released 1966 (recorded 1964) Terence Blanchard https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_f4v9lj_MARCO_OLIVARI_wb__WEllis.jpg Marco Olivari: Manager Blue Note, New York THE RAMONES: RAMONES "I picked The Ramones debut record. I stumbled upon it later in my life - maybe around 30 - as opposed to so many people who come across punk rock and rock 'n' roll so much earlier. That album to me just summed it all up and I thought it so applicable to any other genres in terms of integrity - I find it so interesting how many people in other genres go to that album - and that band as a definition of individuality, personality - groundbreaking. I just think that any great movement or genre has someone who has a different voice that they remain true to." Marco Olivari: Blue Note, New York, 10th February, 2014 The Ramones: Ramones released 1976 Blue Note: New York https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_m627qr_FRED_COHEN___wb__WEllis.jpg Fred Cohen: Proprietor New York Jazz Record Centre G.SCHULLER, G.RUSSELL: MODERN JAZZ CONCERT "It’s an album called The Brandeis Jazz Festival. It’s really not recorded live, it’s studio recordings. But they’re all birth of the third stream. There’s a piece by Milton Babbitt, Harold Shapiro, Charles Mingus, and there’s an extended suite by George Russell. In the middle of it, Bill Evans takes this breathtaking solo. For those who kind of poo-poo Evans for being this romantic narcissist, or whatever... I love Bill, so that’s not my view of him. But when you speak to a lot of people who are interested in a different style of piano playing, they don’t get Bill. For those who don’t get Bill and think of him as only playing in this meditative, quiet way and every so often he gets into uptempo stuff, they should hear this solo that he does on ‘All About Rosie’. It’ll just blow you away. Russell gives him a long, long solo. The sound of the band and their approach... They’re just in your face all the time. And you just sit there and say ‘this is marvellous’. It’s one of those things. A lot of jazz is good but it’s not marvellous. Of course it’s all a matter of personal taste. But you hear that and you’re sitting there and you’re wondering, ‘Jeez, how’s this thing gonna get any better than this?’ and then it gets better. So, since we live in the moment, that’ll be my choice. Now, do I have it? That’s a whole different story..." (Laughs) Fred Cohen: New York Jazz Record Center: February, 2014 Gunther Schuller - George Russell: Modern Jazz Concert - Birth of The Third Stream Jazz Record Centre, New York City https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_ai06vz_SHEILA_JORDAN_wb__William_Ellis.jpg Sheila Jordan: Musician CHARLIE PARKER: NOW'S THE TIME “This is the first jazz recording I ever heard, it’s not even bebop! It’s a rebopper! ‘Charlie Parker’s Reboppers.' There’s a whole story behind this record. Charlie Parker alto, Miles Davis, trumpet, Curley Russell bass and - who’s on piano? Hen Gates that was Dizzy – he couldn’t give his real name – and Max Roach on drums. So it was Curly (Russell), oh my God – can you believe that? So on the other side is "Bille’s Bounce", same personnel. I always sang as a little kid, I never knew what kind of music I wanted to sing and then after I moved back to Detroit to be with my mother and go to high school, there was a jukebox downstairs from my school. I was always playing music there, you know, putting nickels in. So I knew most of the artists and their songs that made them famous – not that I was tired of hearing – but I was looking for something else and I saw this. I saw this and I said ‘Oh – Charlie Parker and His ReBoppers, I wonder what that is?’ So I put my nickel in – four or five notes and I thought – and oh my God, this is the music I’ll dedicate my life to. Whether I sing it, teach it, support it – whatever, it doesn’t matter, I’ll just dedicate my life to that music. I’d finally found the music that I wanted to do where I felt I could get into and really mean it. And I’ll tell you, I got goose bumps when I first heard the first four notes, I was like whoa – it was almost like being elevated you know. That was ‘Now’s The Time’. And the funny thing about this record that’s so beautifully framed now is I was doing a concert maybe two summers ago and there was a wonderful poet on before us, his name is Billy Collins. He recited his poetry and afterwards it was going to be me and Cameron Brown the bass player, that’s a duo I have. I’ve been doing bass and voice since the fifties. I’m the originator of bass and voice – not to brag – but to say hey to singers and bass players ‘you know can do music this way too. And there are people doing it now – which is great. This was an outdoor concert and so we were in this big house where we got dressed, got ready and relaxed until we went on. It was just Billy Collins reciting his poetry and me and Cam. So my friend, (Peter) - this drummer and a wonderful artist, he knows I’m a Bird freak - and he draws birds – all kinds of birds he’s done - they’re beautiful he sends them to me or gives them to me. It was Peter, I said ‘Peter it’s good to see you man’ He said ‘ Yeah I have a present for you – I said really? I said ‘what is it?’ He said ‘yeah open it up’ And so I opened it up – it was this, all framed beautifully. I got so emotional and I thought oh my God - I don’t think I can go up there and sing right now! But I waited a few minutes, I hugged him and kissed him and thanked him. I said ‘Oh my God this is the most wonderful gift I’ve ever been given - except of course the music and my daughter (laughs). So that’s the story of that record!” Sheila Jordan: At home, New York City, 11th February 2014 Charlie Parkers Reboppers - The Koko Sessions by Devon "Doc" Wendell Sheila Jordan https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_9ohi3v_KENNY_BURRELL_0LP_w___William_Ellis_cy.jpg Kenny Burrell: Musician DUKE ELLINGTON: THE GREAT PARIS CONCERT Kenny Burrell: Distinguished Professor Of Ethnomusicology, Director of Jazz Studies, UCLA "The record the maestro recorded in Paris in 1963 there are many great things on this recording. It starts off with Rockin'n Rhythm which we all know has gotten it's own wings after Ellington.Written in 1929 - hello! - Zawinul and those guys were do it later. Star Crossed Lovers from the Suite,the Theme from the Asphalt Jungle movie,couple of pieces featuring Cootie Williams, Concerto for Cootie, Tutti For Cootie and The Suite Thursday another suite by Ellington and Strayhorn. One that I particularly like - well I have to say it's one of favourite pieces in all of Ellingtonia - and all music is Tone Parrallel To Harlem known as Harlem Suite. This was commissioned in 1950 by Arturo Toscanini of The NBC Symphony Orchestra of New York. Ellington at that point was pretty popular and also gaining recognition as a serious composer so that's why he got the commission - at the time he was fifty one. That piece has been recorded in many formats including symphony orchestras both here and in Europe and on various occasions by Ellington himself with his band - this happens to be one of my favourite versions of it. First of all I love the composition, I think it's one of the most outstanding musical compositions ever written, certainly (ever written) by Ellington. It's a through composed piece of material - and it is jazz, not a lot of improvisation in this piece because it's through composed. But the main thing about this - it is a great extended composition of jazz music - that only Ellington could do. I would encourage anyone to listen this, it happens to be my favourite version of it - and this a live performance in Paris in 1963. One of the things you should listen to this piece of music is the huge variety of time changes - the huge variety of harmonic changes - the huge variety of tonal colour - of shifting around. It's amazing how he could get such variety with fifteen musicians - it's unbelievable, but he managed to do that and that's why he's considered many the greatest - not only the greatest jazz composer of the twentieth century but the greatest composer of the twentieth century and this is coming from some serious classical musicians who feel that way - let alone jazz musicians who feel that way. The classical people are starting to say this is some new - material done in a highly sophisticated way that has never been done before - so that's why I wanted to talk about this record! It's like all great art - the more you listen, the more you look - the more you hear, the more you see - I never tire of hearing this. Listen closely and something else reveals itself." Kenny Burrell: University of California, Los Angeles, 7th May, 2013 Duke Ellington: The Great Paris Concert released 1973 Kenny Burrell https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_imbjxn_Mike_Stern_wb__William_Ellis.jpg Mike Stern: Musician MILES DAVIS: KIND OF BLUE "Kind of Blue has obviously captured a lot of people hearts, it's a huge success in terms of getting out there and people hearing the music - and for good reason. It just has an amazing an balance of a lot of space and a lot information too. Man - 'Trane and Cannonball play their asses off on it! And of course Bill Evans and Wynton Kelly are both on the record - and Jimmy Cobb - I love getting the chance to play with him - and actually this whole band - this particular band (Four Generations of Miles) with Sonny Fortune and Buster Williams – who are phenomenal musicians and really great people too. And of course Jimmy. Buster was telling me when Paul Chambers died he was called to play in the Wynton Kelly Trio with Jimmy, and then when Kelly died three months later.... I hear a lot of stories now with this band - there's a whole bunch of history these cats run down. But this record just really knocked me out, it's really hard to pick your favourite record - there a million of 'em, and I don't really have a favourite but this is certainly one of the greatest records ever I think and for obvious reasons. And Miles of course just played his heart out all the time - he just played from the heart and everybody on that record did. So they gave amazing performances, amazing amazing beautiful record." Mike Stern: Photographed at Band on the Wall, Manchester, March 2011 Interviewed at Birdland, New York, February 2014 Miles Davis: Kind of Blue released 1959 Mike Stern https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_wdru2o_RALPH_WILLIAMSONwb__WEllis.jpg Revd Ralph Williamson: Chaplain Christ Church BOB DYLAN: BLOOD ON THE TRACKS “It's a vinyl lp of Bob Dylan’s Blood on the Tracks which i've had since i was a teenager. As a young man I was very into jazz - inspired by my mother, and listened to a lot of trad jazz recordings. But some friends of mine where into Dylan and we used go round to a friend's house Hugo at lunch time and listen to Blood on the Tracks. It was this that really got me started on quite a long period of enjoying Bob Dylan's singing and song-writing which inspired me not only musically, but also politically really and gave me some sense of the possibility of using the visual arts as a media for bringing about social change and campaigning for the things which we feel are right and important. So it was an eye opening, ear opening and heart opening experience really, listening to Blood on the Tracks. It lead on to me buying a number of his other records and I still enjoy them and listen to them today.” Revd Ralph Williamson: The Great Hall, Christ Church, Oxford, 18th February, 2014 Bob Dylan: Blood on the Tracks released 1975 Revd Ralph J. Williamson Ralph uses his skills as a photographer to help the college and cathedral to support an inspiring educational project for slum children in Delhi called 'Saakshar which he established with Edwin Simpson and John Briggs respectively. Saakshar School Appeal https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_rrfa0m_JIM_HARTwbA____William_Ellis.jpg Jim Hart: Musician PAUL SIMON: GRACELAND "I guess I heard it when I was really young when it came out in the ‘80s. I just kind of couldn’t stop listening to it really and both my brother and I got really into it and I think it’s just one of those albums which has stood the test of time for me. I still listen to it a lot and I reckon I probably know pretty much all the words to all the tunes on the album - it’s just a great feeling to it. As a percussionist, you know, there’s all the rhythms and the drums and percussion side of it that are really great and all those great South African guitar lines and that kind of mixture of the South African township music. WE: It was startling when it came out because nobody had heard anything like that before, in the mainstream. JH: Absolutely. It was a really important album politically as well. I remember seeing the African concert video of when he did it. He did the concert, it was just outside Cape Town in South Africa, and it was the first time that there had been a massive concert where it was open to black and white people and you had Miriam Makeba and Hugh Masekela and people who hadn’t been allowed to play in South Africa for years up until that point because of their political beliefs. So it was really important with those guys there with the kind of the jazz – Hugh Masekela’s jazz influence – and the Ladysmith Black Mambazo choir. There were so many elements that went into it and actually my dad ran a male voice choice and he did “Homeland” which is the choir song with his choir so it was kind of … I don’t know, we were all just sort of enchanted with it really, I guess, and it kind of got me into Paul Simon as well. I love all his albums and, you know, I think a lot of jazz musicians actually have… He is one of the more popular music guys – a bit like Joni Mitchell, I guess – that has a lot of respect for jazz musicians and work with people like Phil Woods and Michael Brecker and Steve Gadd. So, yeah, that’s it really." Jim Hart: The Spa, Scarborough, 26th September, 2010 Paul Simon: Graceland released 1986 Jim Hart https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_uw9e7u_MATT-PHILLIPSwb_-William-Ellis.jpg Matt Phillips: Musician and Jazz Writer DAVID SYLVIAN: GONE TO EARTH: "I've gone for David Sylvian's "Gone To Earth" from 1986. I was an early '80s kid, growing up with all the pop music around then; Michael Jackson, Level 42, The Police, Adam Ant. But the jazz thing was happening for me at that time as well. I was starting out with my drumming and listening to Billy Cobham, Weather Report. I think this album came out when I was 14 or 15. I heard the single 'Taking The Veil' and it struck me immediately as something I needed to check out. I knew Japan, David Sylvian's band from the early '80s, and I was a fan of them. But this was a whole new thing. It had a big jazz element to it. Kenny Wheeler plays a lot of solos, John Taylor on piano, another ECM guy. Harry Beckett. And also the great Robert Fripp appears a lot. And it just led me into a lot of investigations. When I delved deeper, the things Sylvian was singing about could be related to boy/girl relationships – there was a 'pop' element to them, but, as I've subsequently found out, you could look at them in a completely different way and they could be spiritual in nature, about 'the other' in general. Religious ideas, spiritual ideas. And that has really grown to fascinate me as I've got older. Also, side two is completely instrumental. And there are some very spooky, environmental, ambient pieces. On 'The Healing Place', Joseph Beuys, the German artist, speaks about his vision of art. And there's another track featuring Robert Graves' poetry. So it's got all these things happening on there, it's a very wide-ranging album. As I said, I was a pop kid growing up, and back then pop music embraced jazz. Kate Bush was using jazz musicians, Talk Talk, Stevie Winwood, Peter Gabriel even. Pop and jazz were bedfellows that were very accessible, unlike now, where it seems like the two worlds have absolutely diverged. I think Sylvian uses those elements really nicely. And of course the other thing about him is his melodies are so fresh. I think of his voice as an instrument. A lot of people find him a bit doomy and depressing but I'm always inspired by his melodies. And I think he's a great musician as well. Very underrated, understated. Plays piano, a lot of keyboards and guitar. I think disc two is basically him alone. The story goes that Virgin didn't want to fund the second side. You can imagine, can't you? They said, 'This pop singer's trying to an album of instrumentals? What's going on?', even though Bowie had done it ten years before. I heard that he had to finance those tracks himself. I'm glad he did. About a year later he did a brilliant gig at the Hammersmith Odeon with Mark Isham on trumpet and David Torn on guitar, amazing band. It was a time when pop music seemed to have a bit more mystique. You didn't have the internet in those days where you can find out everything about an artist. I would scan The Face magazine and The Wire, just to see if I could find out any snippets of information. Gone To Earth is one of those albums where every time you listen to it, you get something new. It's such a layered, beautiful piece of music." Matt Phillips: Frith Street, Soho, London, 24th November 2014 David Sylvian: Gone To Earth released 1986 Matt Phillips MusicMusic 2 https://storage.neonsky.app/651h4emo/images/651h4emo_9mvf3zy0_5ta5cu_MURRAY-WEINSTOCKwb_-William-Ellis.jpg Murray Weinstock: Musician THE JIMI HENDRIX EXPREIENCE: AXIS: BOLD AS LOVE The Jimi Hendrix Experience: Axis: Bold As Love released 1967 https://onelp.com/one-lp-tv 2026-04-06 monthly 0.8 https://onelp.com/unconvention22-1 2026-04-06 monthly 0.8 https://onelp.com/education-exhibitions 2026-04-06 monthly 0.8 https://onelp.com/one-lpscarborough-jf15 2026-04-06 monthly 0.8 https://onelp.com/one-lpdocumenting-jazz2020 2026-04-06 monthly 0.8 https://onelp.com/one-lpband-on-the-wall 2026-04-06 monthly 0.8 https://onelp.com/one-lploud--clear-edinburgh 2026-04-06 monthly 0.8 https://onelp.com/one-lp-exhbcurhythm-changes 2026-04-06 monthly 0.8 https://onelp.com/atrium---face-in 2026-04-06 monthly 0.8 https://onelp.com/atrium---face-out 2026-04-06 monthly 0.8 https://onelp.com/third-floor-section-1 2026-04-06 monthly 0.8 https://onelp.com/third-floor-section-2 2026-04-06 monthly 0.8