https://onelp.com/ 2026-04-06 weekly 1.0 https://onelp.com/about 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/1758848728620_ellis-olp-with-nash-q-symbol.jpg https://storage.neonsky.app/651h4emo/1758848730060_RONNIES-TEAM15wba.jpg https://storage.neonsky.app/651h4emo/1758848731475_CAROL-KIDDwb_WILLIAM-ELLIS.jpg https://storage.neonsky.app/651h4emo/1758848732736_DAN-MORGENSTERNwb_-WILLIAM-ELLIS.jpg https://storage.neonsky.app/651h4emo/1758848734116_ANNE-KEELERwb_-WILLIAM-ELLIS.jpg https://storage.neonsky.app/651h4emo/1758848735343_PHILIP-VAUGHANw_WILLIAM-ELLIS.jpg https://storage.neonsky.app/651h4emo/1758848736600_KITTEN-KAY-SERA-OLPwb2_-WILLIAM-ELLIS.jpg https://storage.neonsky.app/651h4emo/1758848738215_BASIL-GABBIDON-wbt_-WILLIAM-ELLIS-copy.jpg https://storage.neonsky.app/651h4emo/1758848739550_NORMA-WINSTONE-FFwb2583_-WILLIAM-ELLIS.jpg https://storage.neonsky.app/651h4emo/1758848740931_PHIL-BONDwb_WILLIAM-ELLIS.jpg https://storage.neonsky.app/651h4emo/1758848742312_RESHMAB-wb_-WILLIAM-ELLIS.jpg https://storage.neonsky.app/651h4emo/1758848743690_LIONFACE-wb_-WILLIAM-ELLIS.jpg https://storage.neonsky.app/651h4emo/1758848744892_ANNIE-ROSSwb2_-WELLIS.jpg https://storage.neonsky.app/651h4emo/1758848746232_Peter_KIng0lpw__WEllids.jpg https://storage.neonsky.app/651h4emo/1758848747584_MARY-STALLINGSwb-c-WILLIAM-ELLIS.jpg https://storage.neonsky.app/651h4emo/1758848748959_QUOC-OLP-wb_-WILLIAM-ELLIS.jpg https://storage.neonsky.app/651h4emo/1758848750270_PEGGY-SEEGERw_William-Ellis.jpg https://onelp.com/angie-stimson 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ANGIE-STIMSONwb_WILLIAM-ELLIS.jpg Image https://onelp.com/annie-ross 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Annie_Rosswf___William_Ellis.jpg Image https://onelp.com/caroline-pm-jones 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/CAROLINE-PM-JONESwb_WILLIAM-ELLIS.jpg Image https://onelp.com/colin-fraser-gray 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/COLIN-FRASER-GRAYwb_WILLIAM-ELLIS.jpg Image https://onelp.com/david-eddington 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DAVID-EDDINGTONw_WILLIAM-ELLIS.jpg Image https://onelp.com/david-edward-byrd 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DAVID-BYRDwb_-William-Ellis.jpg Image https://onelp.com/david-french 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DAVID-FRENCHw_WILLIAM-ELLIS.jpg Image https://onelp.com/eoin-gallagher 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/EOIN_GALLAGHER_wb__WEllis.jpg Image https://onelp.com/espo 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ESPOWB-c-WILLIAM-ELLIS.jpg Image https://onelp.com/gillian-ware 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/GILLIAN-WAREwb_WILLIAM-ELLIS_MG_7779.jpg Image https://onelp.com/gordon-humphries 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Gordon_HumphreysA____William_Ellis-wb.jpg Image https://onelp.com/james-scott 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JAMES-SCOTTwb_WILLIAM-ELLIS.jpg Image https://onelp.com/jeremy-kidd 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JEREMY-KIDDw_William-Ellis.jpg Image https://onelp.com/bennie-maupin 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BENNIE-MAUPING_wb_WELLIS.jpg Image https://onelp.com/jolino-beserra 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JOLINO-BESSERAwb_WELLIS.jpg Image https://onelp.com/max-presneill 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MAX-PRESNEILLw_WILLIAM-ELLIS.jpg Image https://onelp.com/morgan-howell 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MORGAN_HOWELLw__William_Ellis.jpg Image https://onelp.com/neil-antcliff 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/NEIL_ANCLIFFE_OLP_w__WELLIS.jpg Image https://onelp.com/neil-ferber 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/NEIL-FERBERwb_WILLIAM-ELLIS.jpg Image https://onelp.com/philip-vaughan 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/PHILIP-VAUGHANw_WILLIAM-ELLIS.jpg Image https://onelp.com/rachel-finkelstein 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/RACHEL-FINKELSTEINw_WILLIAM-ELLIS.jpg Image https://onelp.com/trevor-neal 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TREVOR-NEALolpwb_William-Ellis.jpg Image https://onelp.com/trevor-norris 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TREVOR-NORRISwb_WELLIS.jpg Image https://onelp.com/brendan-dawes 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BRIAN_DAWESGwb__WELLIS.jpg Image https://onelp.com/anders-johnsen 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ANDERS-JOHNSENwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/alyn-shipton 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ALYN-SHIPTONwbff_-WILLIAM-ELLIS-copy.jpg Image https://onelp.com/audrey-franklyn 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/AUDREY-FRANKYLNwb_WILLIAM-ELLIS.jpg Image https://onelp.com/bill-adler 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BILL-ADLERwb_-William-Ellis.jpg Image https://onelp.com/bill-birch 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Bill_Birch_w___William_Ellis.jpg Image https://onelp.com/bob-george 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BOB_GEORGE_W__William_Ellis.jpg Image https://onelp.com/bob-koester 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BOB-KOESTER1w_-William-Ellis.jpg Image https://onelp.com/chris-boden 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/CHRIS-BODEN_wb_William-Ellis.jpg Image https://onelp.com/dan-morgenstern 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DAN-MORGENSTERNwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/david-leaver 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DAVID-LEAVERolpwb_-William-Ellis.jpg Image https://onelp.com/fred-cohen 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/FRED_COHEN___wb__WEllis.jpg Image https://onelp.com/geoff-matthews 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Geoff-Matthews-OLPwb_William-Ellis.jpg Image https://onelp.com/gianni-valenti 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/GIANNI-VALENTIwb_-William-Ellis.jpg Image https://onelp.com/jeff-gauthier 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JEFF-GAUTHIERwb_WILLIAM-ELLIS.jpg Image https://onelp.com/james-gavin 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JAMES-GAVIN-sff2WB_944William_Ellis-RT.jpg Image https://onelp.com/jeannie-hopper 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JEANNIE-HOPPER_wb_William-Ellis.jpg Image https://onelp.com/jon-duffield 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JON-DUFFIELDwb-c-WILLIAM-ELLIS.jpg Image https://onelp.com/jonathan-hughes 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JONATHAN-HUGHESw_William-Ellis.jpg Image https://onelp.com/kirk-silsbee 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/KIRK-SILSBEEWB_William-Ellis.jpg Image https://onelp.com/kitten-kay-sera 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/KITTEN-KAY-SERA-OLPwb2_-WILLIAM-ELLIS.jpg Image https://onelp.com/leroy-downs 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/LEROY-DOWNS2wb_-WILLIAM-ELLIS.jpg Image https://onelp.com/marc-riley 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MARC_RILEY_WB__William_Ellis.jpg Image https://onelp.com/marco-olivari 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MARCO_OLIVARI_wb__WEllis.jpg Image https://onelp.com/marian-gordon 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MARIAN-GORDONwb_WILLIAM-ELLIS.jpg Image https://onelp.com/mark-radcliffe 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MARK_RADCLIFFE_WB__William_Ellis.jpg Image https://onelp.com/mary-scott 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MARY-SCOTT_wb_WELLIS.jpg Image https://onelp.com/maxine-gordon 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MAXINE-GORDONwb_-WILLIAM-ELLIS-copy.jpg Image https://onelp.com/mike-gordon 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MIKE-GORDONwb_William-Ellis.jpg Image https://onelp.com/revd-ralph-williamson 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/RALPH_WILLIAMSONwb__WEllis.jpg Image https://onelp.com/roger-mcgough 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ROGER_MCGOUGHw81___William_Ellis.jpg Image https://onelp.com/roy-mcgregor 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ROY-MCGREGOR-OLPwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/scott-yanow 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/SCOTT-YANOW-7315wb_-WILLIAM-ELLIS.jpg Image https://onelp.com/sam-milgrom 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/SAM-MILGROM-OLPfwb_-WILLIAM-ELLIS-copy.jpg Image https://onelp.com/sebastian-scotney 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/SEBASTIAN-SCOTNEYwb_-William-Ellis-copy.jpg Image https://onelp.com/simon-cooke 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/SIMON-COOKE_wb1_-William-Ellis.jpg Image https://onelp.com/tad-hershorn 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TAD-HERSHORNwb2_-William-Ellis.jpg Image https://onelp.com/tom-mulligan 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TOM-MULLIGAN-OLPw_D7A1898William_Ellis.jpg Image https://onelp.com/tony-dudley-evans 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/T-D-EVANSwb_WILLIAM-ELLIS.jpg Image https://onelp.com/vera-ryan 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/VERA_RYAN_w__WEllis.jpg Image https://onelp.com/viv-broughton 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/VIV-BROUGHTONwbbw2_-WILLIAM-ELLIS.jpg Image https://onelp.com/in-memoriam-jack-bruce 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JBRUCE_swb_WEllis.jpg Image https://onelp.com/johnny-marr-from-ardwick-to-the-carnival 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Johnny_Marr_w1LP___William_Ellis.jpg Image https://onelp.com/peter-ind-life-the-universe-and-everything 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/PETER-INDw_William-Ellis.jpg Image https://onelp.com/david-gage 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DAVID-GAGE-OLPwb_-WILLIAM-ELLISbc.jpg Image https://onelp.com/roger-sadowsky 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ROGER_SADOWSKY_WB__William_Ellis.jpg Image https://onelp.com/vinny-fodera 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/VINNY_FODERA__William_Ellis-FW.jpg Image https://onelp.com/ave-pildas 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/AVE-PILDASwb_William-Ellis.jpg Image https://onelp.com/bob-barry 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BOB_BARRY__William_Ellis-1w.jpg Image https://onelp.com/bob-gruen 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BOB_GRUEN_WBWilliam_Ellis.jpg Image https://onelp.com/don-saban 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Don_Saban__William_Ellis-1w.jpg Image https://onelp.com/edward-colver 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/EDWARD_COLVER_OLPw__WELLIS.jpg Image https://onelp.com/guy-webster 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/GUY_WEBSTERwb__WELLIS.jpg Image https://onelp.com/jim-brock 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JIM-BROCK-OLP-wb-c-WILLIAM-ELLIS.jpg Image https://onelp.com/jurgen-schadeberg 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JURGEN-SCHADEBURG_W_WELLIS.jpg Image https://onelp.com/lynn-goldsmith 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/LYNN_GOLDSMITH_WB__William_Ellis.jpg Image https://onelp.com/karen-mcbride 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/KMcBRIDE__WilliamEllis.jpg Image https://onelp.com/terry-oneill 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Terry_O_Neill___William_Ellis.jpg Image https://onelp.com/tom-meyer 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TOM_MEYER__William_Ellis-1W.jpg Image https://onelp.com/terry-cryer-1 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/1759165462257_TERRY-CRYERolpwb_William-Ellis.jpg Image https://onelp.com/acker-bilk 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Acker_Bilk_wONE_LPAcker__William_Ellis.jpg Image https://onelp.com/al-jarreau 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Al_Jarreau_1LP___William_Ellis.jpg Image https://onelp.com/alan-ferber-mark-ferber 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/AlanMarkFerber__WEllis_olpw.jpg Image https://onelp.com/alan-barnes 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/alan_barnes___William_Ellis.jpg Image https://onelp.com/alison-diamond 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ALISON-DIAMOND_wb_William-Ellis.jpg Image https://onelp.com/amp-fiddler 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/AMP-FIDDLER_wb_William-Ellis.jpg Image https://onelp.com/anita-wardell 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Anita_Wardelw__WEllis.jpg Image https://onelp.com/anne-keeler 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ANNE-KEELERwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/anthony-wilson 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ANTHONY-WILSONw_WILLIAM-ELLIS.jpg Image https://onelp.com/arnie-somogyi 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ARNIE-SOMOGYIw_William-Ellis.jpg Image https://onelp.com/art-themen 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ART-THEMENw_William-Ellis.jpg Image https://onelp.com/arturo-ofarrill 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ARTURO_O_FARRILLwb__William_Ellis.jpg Image https://onelp.com/barrelhouse-chuck 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BHOUSE_CHUCKwb__WELLIS.jpg Image https://onelp.com/barry-zweig 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BARRY_ZWEIG_w__WELLIS.jpg Image https://onelp.com/becca-stevens 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BECCA-STEVENS_6194w_-William-Ellis.jpg Image https://onelp.com/benny-golson 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BENNY-GOLSONwb_WILLIAM-ELLIS.jpg Image https://onelp.com/billy-mitchell 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BILLY_MITCHELL__William_Ellis-1W.jpg Image https://onelp.com/bill-laurance 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BILL-LAURANCEwb_-WILLIAM-ELLIS-copy.jpg Image https://onelp.com/bobby-wellins 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BOBBY-WELLINSw_William-Ellis.jpg Image https://onelp.com/dr-bobby-rodriguez 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BOBBY_RODRIGUEZ_W__WELLIS.jpg Image https://onelp.com/brad-stubbs 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BRAD_STUBBS_OLPW__WELLIS.jpg Image https://onelp.com/buddy-whittington 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BUD-WHITTINGTONwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/buster-williams 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/BUSTER_WILLIAMS_WB__William_Ellis.jpg Image https://onelp.com/carol-kidd 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/CAROL-KIDDwb_WILLIAM-ELLIS.jpg Image https://onelp.com/charles-mcpherson 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/CHARLES-MCPHERSON_wb-c-WILLIAM-ELLIS.jpg Image https://onelp.com/charlie-wood 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/CHARLIE-WOODwb_WILLIAM-ELLIS.jpg Image https://onelp.com/chris-potter 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/_MG_9572CHRIS-POTTERwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/christian-scott 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Christian_S9627__William_Ellis.jpg Image https://onelp.com/chuck-berghofer 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/CHUCK_BERGHOFER_W___William_Ellis.jpg Image https://onelp.com/cory-henry 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/CORY-HENRYwb2_-WILLIAM-ELLIS.jpg Image https://onelp.com/dave-berry 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DAVE-BERRYwb_William-Ellis.jpg Image https://onelp.com/david-bassie 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/David_Bassie_KC_MG_9346___William_Ellis.jpg Image https://onelp.com/david-liebman 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DAVID-LIEBMAN-wb_-WILLIAM-ELLIS-copy.jpg Image https://onelp.com/david-was 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DAVID-WASwb_WELLIS.jpg Image https://onelp.com/darek-oles 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DAREK-OLESwb_WILLIAM-ELLIS.jpg Image https://onelp.com/del-casher 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DEL-CASHER_wb_-WILLIAM-ELLIS.jpg Image https://onelp.com/dick-pearce 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DICK-PEARCEwb_WILLIAM-ELLIS.jpg Image https://onelp.com/dom-flemons 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DOM-FLEMONSwb_William-ELLIS.jpg Image https://onelp.com/don-weller 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/1lp_wDon_Weller1787.jpg Image https://onelp.com/donny-mccaslin 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DONNY-MCCASLINwb_WILLIAM-ELLIS-copy.jpg Image https://onelp.com/eddie-henderson 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/EDDIE-HENDERSONwb_William-Ellis.jpg Image https://onelp.com/erwin-helfer 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ERWIN_HELFERwb__WELLIS.jpg Image https://onelp.com/fairport-convention 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/CHRIS-LESLIEwb_WILLIAM-ELLIS.jpg Image https://onelp.com/flip-manne 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Flip_Mannew__William_Ellis.jpg Image https://onelp.com/frank-de-vito 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/FRANK-DE-VITO-wb2_-WILLIAM-ELLIS.jpg Image https://onelp.com/frank-potenza 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/FRANK_POTENZA_W___William_Ellis.jpg Image https://onelp.com/fred-hersch 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/FRED-HERSCHwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/the-dylan-project 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/DAVE-PEGGwbWILLIAM-ELLIS.jpg Image https://onelp.com/gary-crosby 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/GARY-CROSBYw_William-Ellis2599.jpg Image https://onelp.com/gene-cipriano 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/GENE-CIPRIANOw_WILLIAM-ELLIS.jpg Image https://onelp.com/george-cables 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/GEORGE-CABLES-OLP-28wbFF_-WILLIAM-ELLIS.jpg Image https://onelp.com/gerald-clayton 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/GERALD-CLAYTONwb-c-WILLIAM-ELLIS.jpg Image https://onelp.com/gerald-trimble 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Gerald_Trimble_wb___William_Ellis.jpg Image https://onelp.com/gill-alexander 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/GILL-ALEXANDERwb_WELLIS.jpg Image https://onelp.com/graham-nash 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/GRAHAM_NASH__WELLISw2.jpg Image https://onelp.com/gregory-porter 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/GPorterv1___w1LP__WEllis.jpg Image https://onelp.com/greg-abate 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/GREG-ABATEolpwb_WILLIAM-ELLIS.jpg Image https://onelp.com/greg-carroll 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Greg_Carroll_KCw___William_Ellis.jpg Image https://onelp.com/ian-shaw 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/IAN-SHAWwb_William-Ellis.jpg Image https://onelp.com/jack-bruce 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/wJack_Bruce__William_Ellis.jpg Image https://onelp.com/jacob-collier 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JACOB-COLLIER.jpg Image https://onelp.com/james-morrison 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JMorrison_w1LP__WEllis.jpg Image https://onelp.com/jeannie-pisano 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JEANNE_PISANO_W___William_Ellis.jpg Image https://onelp.com/jim-hart 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JIM_HARTwbA____William_Ellis.jpg Image https://onelp.com/jimmy-heath 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JIMMY_HEATH__William_Ellis.jpg Image https://onelp.com/joe-farnsworth 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/1761684900443_JOE_FARNSWORTH_WB-4025_William_Ellis.jpg Image https://onelp.com/joe-lovano 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JOE-LOVANOwb_-William-Ellis.jpg Image https://onelp.com/joey-ranieri 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/1761690036529_JOEY_RANIERI_WB-ff4561_William_Ellis_copy.jpg Image https://onelp.com/john-beasley 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JOHN-BEASLEY-OLPwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/john-clayton 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JOHN-CLAYTONwb_William-Ellis.jpg Image https://onelp.com/john-jones 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JOHN-JONESWB_-William-Ellis.jpg Image https://onelp.com/john-la-barbera 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JOHN-LABARBERA_wb2969_-WILLIAM-ELLIS.jpg Image https://onelp.com/john-mayall 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JOHN-MAYALLwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/john-pisano 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JOHN_PISANO8714___William_Ellis.jpg Image https://onelp.com/johnny-marr 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Johnny_Marr_w1LP___William_Ellis.jpg Image https://onelp.com/jon-faddis 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JON-FADDISw_William-Ellis.jpg Image https://onelp.com/jon-hendricks 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JON-HENDRICKS2wb_-William-Ellis.jpg Image https://onelp.com/justin-robinson 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/JUSTIN-ROBINSONwb-c-WILLIAM-ELLIS.jpg Image https://onelp.com/kenny-burrell 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/KENNY_BURRELL_0LP_w___William_Ellis_cy.jpg Image https://onelp.com/kenny-werner 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/KENNY-WERNER-OLP-wb_-WILLIAM-ELLIS.jpg Image https://onelp.com/kirk-whallum 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/KIRK-WHALLUMwb_William-Ellis.jpg Image https://onelp.com/kit-downes 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Kit_Downes_olpw__William_Ellis.jpg Image https://onelp.com/larry-ball 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/LARRY-BALLwb_WILLIAM-ELLIS1.jpg Image https://onelp.com/laurance-juber 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/LAURANCE-JUBERw_-WILLIAM-ELLIS.jpg Image https://onelp.com/lee-konitz 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/LEE-KONITZ-OLP-12wb_-WILLIAM-ELLIS.jpg Image https://onelp.com/lee-pearson 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Lee_Peasrson2__William_Ellisw.jpg Image https://onelp.com/lonnie-liston-smith 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Lonnie_L_Smith__William_Ellis_w.jpg Image https://onelp.com/louis-hayes 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/LOUIS-HAYESwb1_-William-Ellis.jpg Image https://onelp.com/marcus-miller 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MARCUS-MILLERwb2_William-Ellis_-William-Ellis.jpg Image https://onelp.com/marquis-hill 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MARQUIS-HILLwb-c-WILLIAM-ELLIS.jpg Image https://onelp.com/martin-carthy 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MARTIN-CARTHYwbWILLIAM-ELLIS.jpg Image https://onelp.com/martin-simpson 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MARTIN-SIMPSONwb_William-Ellis9930-copy.jpg Image https://onelp.com/martin-taylor 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MTaylor_w__WEllis.jpg Image https://onelp.com/mary-stallings 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MARY-STALLINGSwb-c-WILLIAM-ELLIS.jpg Image https://onelp.com/matt-phillips 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MATT-PHILLIPSwb_-William-Ellis.jpg Image https://onelp.com/michael-league 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Michael_League-web_2.jpg Image https://onelp.com/michael-weiss 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/1762096871088_MICHAEL_WEISS-408_William_Ellis.jpg Image https://onelp.com/michele-munro 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/MICHELE-MUNROw_WILLIAM-ELLIS.jpg Image https://onelp.com/mike-stern 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Mike_Stern_wb__William_Ellis.jpg Image https://onelp.com/mike-walker 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/FFMike_Walker_1LP___William_Ellis.jpg Image https://onelp.com/norbert-wabnig 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/NORBERT-WABNIG_wb_WILLIAM-ELLIS.jpg Image https://onelp.com/the-ofarrills 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/AD_A_Z_O_FARRILLwb_William-Ellis.jpg Image https://onelp.com/oli-rockberger 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/OLI-ROCKBERGERweb_WELLIS.jpg Image https://onelp.com/orbert-davis 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ORBERT_DAVIS_wb__WELLIS.jpg Image https://onelp.com/pat-kelley 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/PAT_KELLY_OLPw__WELLIS.jpg Image https://onelp.com/pat-martino 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/PAT_MARTINO_wb__WELLIS.jpg Image https://onelp.com/pat-senatore 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Pat_Senator__William_Ellis59.jpg Image https://onelp.com/paul-jones 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/PAUL-JONES_cwb_-William-Ellis.jpg Image https://onelp.com/paul-wertico 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Paul-Wertico_OLPwb_William-Elliis.jpg Image https://onelp.com/peggy-seeger 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/PEGGY-SEEGERwb_William-Ellis.jpg Image https://onelp.com/peter-erskine 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/PETER-ERSKINEwb_WILLIAM-ELLIS.jpg Image https://onelp.com/peter-hook 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/PETER-HOOKwb_WEllis.jpg Image https://onelp.com/peter-ind 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/PETER-INDw_William-Ellis.jpg Image https://onelp.com/peter-king 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Peter_KIng0lpw__WEllids.jpg Image https://onelp.com/pino-palladino 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/PINO-PALADINO-OLPwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/rachel-duns 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/RACHEL-DUNS-PT-OLP-2186-c-WILLIAM-ELLIS.jpg Image https://onelp.com/randy-weston 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/RANDY-WESTOLPwb-WELLIS.jpg Image https://onelp.com/richard-simon 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/RICHARD-SIMONfwb-5046_-WILLIAM-ELLIS.jpg Image https://onelp.com/rick-kemp 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/RICK-KEMP-wb_-WILLIAM-ELLIS.jpg Image https://onelp.com/robert-glasper 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Robert_Glasper_w1LP__William_Ellis.jpg Image https://onelp.com/rod-youngs 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ROD-YOUNGS_olpwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/roger-beaujolais 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ROGER-BEAUJOLAIS-wb_WELLIS.jpg Image https://onelp.com/roger-davies 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ROGER-DAVIESwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/ron-carter 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/RON-CARTER_wb_WELLIS.jpg Image https://onelp.com/ruth-price 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Ruth-Price_wbla_WELLIS.jpg Image https://onelp.com/sheila-jordan 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/SHEILA_JORDAN_wb__William_Ellis.jpg Image https://onelp.com/sonny-fortune 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Sonny_FortuneWB__William_Ellis_.jpg Image https://onelp.com/soweto-kinch 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/SOWETO-KINCHwb_WILLIAM-ELLIS.jpg Image https://onelp.com/stan-tracey 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/STAN-TRACEY_wb_WELLIS.jpg Image https://onelp.com/stefan-grossman 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/STEFAN-GROSSMANwb_WILLIAM-ELLIS.jpg Image https://onelp.com/steve-crocker 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/STEVE-CROCKERwb-c-WILLIAM-ELLIS.jpg Image https://onelp.com/steve-gadd 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/STEVE-GADD-OLPWB-c-WILLIAM-ELLIS.jpg Image https://onelp.com/steve-kuhn 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/STEVE_KUHN___WB__William_Ellis.jpg Image https://onelp.com/stewart-forbes 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/STEWART-FORBES-OLPwb-c-WILLIAM-ELLIS.jpg Image https://onelp.com/tir-na-nog 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/LEO-OKELLYwb_WELLIS.jpg Image https://onelp.com/tardo-hammer 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TARDO_HAMMER___wb__William_Ellis.jpg Image https://onelp.com/ted-mayer 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TED-MAYER-OLP-1_-WILLIAM-ELLIS.jpg Image https://onelp.com/ted-sirota 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TED_SIROTAwb__WELLIS.jpg Image https://onelp.com/terence-blanchard 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Terence-Blanchardwb_William-Ellis.jpg Image https://onelp.com/terry-gibbs 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TERRY-GIBBS_wb_-WILLIAM-ELLIS.jpg Image https://onelp.com/terri-lyne-carrington 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TERRI-LYNE-CARRINGTON-wb_-WILLIAM-ELLIS.jpg Image https://onelp.com/theo-blackmann 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/THEO-BLECKMANNwb-c-WILLIAM-ELLIS.jpg Image https://onelp.com/tierney-sutton 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TIERNEY-SUTTON-wb_-WILLIAM-ELLIS-copy.jpg Image https://onelp.com/tom-scott 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TOM-SCOTTwb_William-Ellis.jpg Image https://onelp.com/tomasz-stanko 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/TOMAS-STANKOw_WILLIAM-ELLIS.jpg Image https://onelp.com/victor-bailey 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/VICTOR-BAILEYw_William-Ellis.jpg Image https://onelp.com/victor-brox 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/Victor-Brox_w1LP_WEllis.jpg Image https://onelp.com/victor-lewis 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/VICTOR-LEWIS-OLP57fwb_-WILLIAM-ELLIS.jpg Image https://onelp.com/vince-mendoza 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/VINCE-MENDOZA-OLP14wb_-WILLIAM-ELLIS.jpg Image https://onelp.com/walt-whitman 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/WALT_WHITMAN_wb__WELLIS.jpg Image https://onelp.com/warren-vache 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/WARREN_VACHER_Wb__William_Ellis.jpg Image https://onelp.com/wayland-rogers 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/WAYLAND_ROGERS_WB__WELLIS.jpg Image https://onelp.com/al-jarreau-1 2026-04-06 monthly 0.8 https://onelp.com/annie-ross-1 2026-04-06 monthly 0.8 https://onelp.com/bennie-maupin-1 2026-04-06 monthly 0.8 https://onelp.com/billy-mitchell-1 2026-04-06 monthly 0.8 https://onelp.com/buster-williams-1 2026-04-06 monthly 0.8 https://onelp.com/gregory-porter-1 2026-04-06 monthly 0.8 https://onelp.com/mike-stern-1 2026-04-06 monthly 0.8 https://onelp.com/orbert-davis-1 2026-04-06 monthly 0.8 https://onelp.com/terry-cryer 2026-04-06 monthly 0.8 https://onelp.com/one-45-northern-soul 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/NSOUL_LOGO45b_wwb.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/NS-SUMMARYwb.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/ADY-CROASDELLwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/EMILY-HARRISON-w_b_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/HARRIET-DAKIN-wb_-WILLIAM-ELLIS-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/JENNY-WILKES_CPCLP_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/JO-WALLACE-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/JOHN-MANSHIP_wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/JOSH-PYE_wb2_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/KEV-ROBERTS_wb_-WILLIAM-ELLIS-copy-3.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/LAUREN-DOTS-wb2_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/LIAM-QUINNwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/MAZZY-SNAPE-O45-wb2_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/NICOLA-WATCHMAN-wb_-WILLIAM-ELLIS-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/PAUL-SADOT-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/RICH-PRIEST-O45-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/SAMMY-DEE_wb_-WILLIAM-ELLIS-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/SARAH-KEEBLE-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/SARAH-RAINE-wb47_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/SEAN-CHAPMAN_wb_-WILLIAM-ELLIS-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/TIM-WALL-141297wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/TOM-PAGE_wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/TOM-PAGE_wb_-WILLIAM-ELLIS.jpg Image https://onelp.com/one-love-reggae 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/OLP_45_LP-LOGOwb.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/GLOBE-TITLE-SMALL.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/BCU_OLP.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/ABU-BOCAICO-OLPwbs_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/AMLAK-TAFARI-OLPwb_-WILLIAM-ELLIS-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/AUDREY-B6838wb2_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/BASIL-GABBIDON-wbt_-WILLIAM-ELLIS-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/CHRISTOFARI-WB.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/SISTER-CULCHA_DONNA-OLP-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/CHRIS-PECKINGS-OLPwb_-WILLIAM-ELLIS-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/DUKE-PECKINGS-OLP-6307wb2_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/MAT-GOOSENEI-OLPwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/Hwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/IMAN-ISSACHAR_OLPwbs_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/JAH9_WB.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/JAHMIL-WILLIAMSwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/JONATHAN-DAYwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/JULIAN-HENRIQUES-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/JUNE-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/KOKUMO-NOXIDWB_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/LYLE-BIGNONwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/LYNDA-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/MARTIN-GANSINGERwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/MARTIJN-HUISMANwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/MATT-DOYLE-OLPwv_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/MATT-GRIMESwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/MYKAL-BROWN-OLP-SR-wb03_-WILLIAM-ELLIS-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/MIKE-WIREwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/MUKHTAR-DAR-OLPwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/NEIL-KENLOCK-wbcp_-WILLIAM-ELLIS-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/ROBIN-GIORNOwbs_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/RUSTY-REBEL_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/SEBASTIAN-DAVIESWB.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/SISTER-STEPHIWB.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/TALEBA-WAXwb3_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/TIM-WALLwbs_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/NY-INTRO-PAGE-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/AMY-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/AMY-WACHTEL-O45wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/BOBBY-KONDERS-OLPWB_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/C-V-PELT-O452wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/CHRIS-CHIN-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/DAVID-BARAM-OLPwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/IAN-CLARKE-OLP-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/KEISUKE-HIROSAKIwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/LIONFACE-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/LOWELL-TAUBMAN-O45wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/JOHN-SHULTZ-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/PATRICIA-CHIN_wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/PAUL-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/QUOC-OLP-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/RANDY-CHIN-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/RANIA-KANAZIwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/RESHMAB-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/ROB-KENNER-OLPwb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/SALEM-SAMUELwb-7374_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/JAM-INTRO-PAGE.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/BONGO-HERMAN-wb_-WILLIAM-ELLIS-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/CARL-LAUDER-wbf_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/CLIVE-CHIN-wb_-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/KING-JAMMwb_-WILLIAM-ELLIS-copy.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/SISTER-CAROL_wb_-WILLIAM-ELLIS.jpg Image https://onelp.com/the-one-lp-experience 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/ellis_exh2_William-Ellis.jpg Image https://onelp.com/one-lpprolightsound-frankfurt 2026-04-06 monthly 0.8 https://cdn.neonsky.app/4c866b5ee9717/images/PROLIGHT.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/TALK-OUTLINEj.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/FINAL-OLP-OUTLINE-A0-WEB.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/ANNIE-ROSS-c-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/ANTHONY-WILSON-c-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/CAROLINE-PM-JONES.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/CLIVE-CHIN-c-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/Lynda-Rosenior-Patten-c-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/MARY-STALLINGS-c-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/RICK-WAKEMAN-c-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/VICTOR-BAILEY-c-WILLIAM-ELLIS.jpg Image https://cdn.neonsky.app/4c866b5ee9717/images/VICTOR-LEWIS-c-WILLIAM-ELLIS.jpg Image https://onelp.com/exhibitions 2026-04-06 monthly 0.8 https://onelp.com/overview 2026-04-06 monthly 0.8 https://onelp.com/acknowledgement 2026-04-06 monthly 0.8 https://onelp.com/contact 2026-04-06 monthly 0.8 https://onelp.com/one-lp-portraits 2026-04-06 monthly 0.8 https://onelp.com/artists-of-blue-note-records-1 2026-04-06 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://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_z6gio9_ACKER-BILK_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 https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_ncoyrs_alan_barnes___William_Ellis.jpg Alan Barnes: Musician ART PEPPER MEETS THE RHYTHM SECTION "I remember my dad bringing me an Art Pepper LP home one day. It wasn't this one, it was 'Discoveries' - and it knocked me out. I met Tommy Chase for the first time in a pub in Soho and he said 'have you got Art Pepper meets The Rhythm Section?' - I said no and he took round the corner and bought it me instantly - shoved it in a bag, gave it me and I said 'I can't accept that from you.' He said 'don't tell me what I can and can't fucking do!' After the telling the typically colourfull story of how he acquired the album Alan went on to talk about the record. 'The Rhythm Section was Miles Davis' rhythm section and was probably the greatest in jazz at that time - It would be a terribly formidable thing for anybody to just walk in and play with (them) but he did it and he did it so unlike Miles or Cannonball or Coltrane, he retained his individuallity. The record is so exciting - really it's the embodiment of what jazz is about.' 'Pick the bones out of that!' The Spa, Scarborough, 26th September 2010 Art Pepper meets The Rhythm Section: 1957 Alan Barnes It's said that Art Pepper only learned in the morning that the recording seesion was booked, 19th January, 1957. https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_gocvlc_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_ueqaj48a_wg3zwi_AMLAK-TAFARI-OLPwb_-WILLIAM-ELLIS-copy.jpg Amlak Tafari: Musician TWINKLE BROTHERS: COUNTRYMEN “Yes, well this album is called 'Countryman' and it's by a band called The Twinkle Brothers. The reason why this album is of particular interest and why it's so special to me is .. I'm a Rasta man, my liberty is one of Rastafari. And as a young Rasta man we faced a lot of trialsand tribulations growing up in Britain. It was in a time - a lot of misunderstanding, there was a lot of racial prejudice, a lot of discrimination and also a lot of misunderstandings. And so my generation when we talked about .. we like the Rastafari way of life and the Rastafari philosophy our parents nearly lost their minds, simply because back in the thirties in Jamaica a Rasta man was deemed as a scum of the earth, as they would say. And in Jamaican society the only place for a Rasta man would have been in and amongst the thieves and the criminals and such like, such was the ..... I don't know how to put it but they weren't liked and I can see why a lot of times people wouldn't have liked the Rasta Jamaica being a place where it has more churches per capita then anywhere else in the world. Christianity and religion has a very strong influence on society as a whole and has for many many years so when the Rasta man came along talking about Africa and repatriation to Africa as the motherland that went against the grain, very much so. Especially as Jamaica was a British colony , even though Jamaica changed hands and had many many influences .. Spanish etc ..in terms of as a colony .. colonialism, slavery, the influence was of the British culture. So that said with Christianity, right, the white Jesus, in terms of sovereignty the Queen of England .. when the Rasta man came along and said - 'Well actually we're Africans and we are already kings, queens, princes, princesses, emperors, it's about time we look at who we are ..acknowledge who we are, where we're coming from and rekindle that relationship and reignite that strength and that power' right and you know .. as Royal deities. Let's look at who we are. iif we look into history, the most recent history, there's slavery, there's that .. but if we look back ... further back and bring that forward we are people, we are men and women, we are human beings and we are a lot more mighty than the most recent histories would have suggested. So, it definitely went against the grain and those in the upper echelons of society who look towards the European model of hierarchy it just didn't go well. So, Rastas back in those days... so you can imagine some years l later being in the United Kingdom .. my parents have come here, right, to further themselves economically, to further assist all the family back home, you know, when we came along with Rasta they were like 'oh my gosh what's going on here'. Things were tough enough for them being in England as immigrants, like I said with the racism and the social inequalities etc. and then when we came along with the Rasta talk that just blew their mind. So you know the term nowadays 'disenfranchised youth' well back in that time, you know, it was a real struggle, you know, being black in Britain was a struggle. And being a black youth in Britain was, you know, almost like that .. you know the term when they say middle child misunderstood and left out and stuff. So we were like the middle child in terms of our parents did not grow up in Britain so with regards to the education system and the psychology involved in grooming people, in grooming a nation of people to think and behave a certain way that was totally over our parents heads, they were coming from islands like Grenada, Trinidad, St. Kitts, Barbados, Jamaica ,etc where the British had an involvement in and the education system there was a lot more strict. The level of attainment was a lot higher, all be that it was British education system that was there the students in Jamaica were scoring so much higher, in relation to what's going on in the UK, and that's because of the discipline of where we're coming from and the cultural aspects of how we saw things from a family structure going right the way through to .... yeah ..so It was hard, really really hard. Going to school, being chastised, going home to tell your parents .. going 'look guess what happened at school'. They'd be like 'What'. Well in Jamaica that don't happen .. you must have done something wrong because the teachers always right, authorities always right. Well we were then struggling with authority here that was looking at us in a different way. They didn't know about us .. we didn't know about them. Our parents couldn't tell us about them because our parents only had one mind set ... we're here to work we'll put up and shut up . We're just here to work. Our parents didn't know police stations and all that kind of stuff, they never got into trouble. We we're getting into trouble our parents thought 'Well it must be you.. it's got to be you. How come there's problems at school and the police have arrested you'. Some of the parents rcognised what was going on and did not turn a blind eye. So it was a struggle all the way along to be understood in a situation that was evolving and you had no way of knowing which way the pieces are going to fall after these minor explosions and eruptions. Though, that said I felt like I had no place. My mum was disappointed, my father was disappointed ..tremendously disappointed. I was in top class when I was at school; when I was seven years old they said I had the brain of a nine year old I should have been two years ahead and all that stuff. I went to school I was in top class in school, I was the only Carribean boy in my class at school. My parents said 'Oh my gosh he's going to be great he's going to be a doctor, a lawyer, whatever. But how I felt about what was happening to me didn't point me in that direction and I saw, and still does that Rastafari liberty, the peace and love, the respect, the acknowledgement of my self that I found in Rastafari .. I recognised that was my way. You know, it didn't mean that not going to school or not whatever.. people had a problem with the fact that I'm saying Rastafari because the connotations of that, coming from Jamaica, is the worst thing that I could have ever decided to do. My parents thought 'Oh my gosh we're finished'. And what happened immediately I wasn't allowed to go to my friends houses anymore. You know you go call for your friends call ... no .. are you coming out.. going up the road ..kick some football whatever then roller skating... all of a sudden my friends parents told their children don't bring him back round here anymore. I experienced that. So you know .. the term 'marginalised'. I had my family, my mum was kicking me out the house, she said 'I'm going to America .. when I get back you comb that hair or you're out'. She came back and she said 'give me the front door key - get out'. You know so ..these are the things. There's a song on this album called 'Countrymen' by the band called Twinkle brothers that actually encompasses a lot of the experience of .. not just myself ..a lot of what other young Rastas were going through. You know there's one of the verses talking about when he got fired from his job, right, and you know, fired without pay.. and it's just because he became a Rasta man he went to work and the boss man looked at him and said 'What..that hair 'and you know.. And then family disowned him, you know, and all these different stories about the persecution basically, because of a personal belief. The final verse on this song says, you know, something like; 'When your boss man discriminates against you, right, and your mother and father rejects you that is the time that Jah, God, Jah the Almighty he will guide and protect you. So I told them all to go away with their brutalisation, go away with your discrimination, go away with your victimisation'. So that song told me I will be all right. I'm gonna be just fine as hard as things are.... And being a teenager as well ( laughs). Things are always hard ... puberty ..adolescence ..all these things thrown in top of , you know, what was happening on the street, if I left Handsworth it was a problem. We moved from Handsworth to Perry Barr - major problem,Police on my case, mad mob chasing me, all kinds of things going on. Get arrested for stupid stuff. Police driving on the street you know. Five a clock in the morning I'd come from Putney .. on the pavement .. driving me down on the pavement. You know, all kinds of crazy things. This song 'Since I threw the comb away' is the name of the song and my goodness I'm still here because of this music and you know .. so that's about it man ..yeah Twinkle Brothers .. “Since I Throw The Comb Away”. Oh yeah big up Will. Yeah bless him. Will is the man. Will came to my house he had ackee and pear and super malt .. yeah . My cousin Will. Rastafari ! yes man. (Laughs) Twinkle Brothers "Contrymen" released 1980 https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_ojtord_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_ueqaj48a_kq9rf0_ANNIE-ROSSwb2_-WELLIS.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 released 1958 Annie Ross https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_pbmz2p_ARNIE-SOMOGYIw_William-Ellis.jpg Arnie Somogyi: Musician CHARLES MINGUS: MINGUS AH UM "It’s Mingus – which is kind of fairly predictable I suppose but that turned me on to jazz really, that album. I remember buying it – I bought a double bass before I bought that record and I was wondering sort of what to do with the double bass, because I played electric bass in rock bands prior to that. This was at the age of 19, so I like the look of it and I liked the sound of it but I didn’t really know what to do with it! In those day’s it was vinyl - I’d heard of Charles Mingus obviously so I went and bought ‘Ah Um’ which was at the front of the rack. So I bought that and it sort of changed my life really. Listened to that – turned me on to jazz and here I am today – so that’s it yeah – that’s what happened. Lovely balance of compositional skills – beauty, creativity and kind of raw spirit and freedom – which is quite rare in any sort of music I think. Not just jazz but anywhere really. Finding that sort of attitude and freedom…. I think it’s freedom; freedom is the thing with that record. It sound free and so beautiful - really so that’s it." Arnie Somogyi: Llandudno Jazz Festival, 25th July 2015 Charles Mingus: Ah Um released 1959 Arnie Somogyi https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_rmcwuy_Anita_Wardelw__WEllis.jpg Anita Wardell: Musician ABBEY LINCOLN: IT'S MAGIC "It is so special because, as many people know, that Abbey Lincoln passed away earlier this year [August 2010] and I have always been really inspired by her. From a very early age, she was one of the – you know, after Ella Fitzgerald – she was the next person I really got into. So I am a massive fan of her and I’ve got all her albums. The reason I chose this is because I think this is one of the lesser-known ones but there’s beautiful tracks on here and the one that I really love is “Exactly Like You” because I listened to another version of this by Carmen McRae, which I love, and when I heard this version I loved this equally. You know, it’s the way her sentiment, the way she gets the lyrics across, are so different to a lot of other singers. She is very deep when she sings and you can really hear a lot of emotion. Not in the same way that you can with Billie Holiday but you know it’s coming from a real spiritual sort of place, when she plays and that’s why I love her." Anita Wardell: The Spa, Scarborough, 26th September 2010 Abbey Lincoln: It's Magic - released 1958 Anita Wardell https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_gvhddo_BASIL-GABBIDON-wbt_-WILLIAM-ELLIS-copy.jpg Basil Gabbidon: Musician THE WAILERS: CATCH A FIRE “Before 'Catch a Fire' album came out, when I was a little kid, I used to listen to reggae music. I used to like reggae music to an extent but it was mainly kind of your normal stuff you know ' I love you ..blah blah type of thing. And then I was in Handsworth Park - I was talking to my friend earlier about this, I was in Handsworth Park, I was probably about thirteen .. fourteen, fourteen maybe and I heard a track called “Blood and Fire” by a guy called Niney and it just blew my mind because it was different, it was hard core .. it was strong ..it was talking about something positive, you know. As you know reggae is always talking about daily life and the struggles and the fights, you know, that you have to go through to make it in life, you know. And that just summed it up you know. And it kind of, in a sense got me into music, into going 'ooh yeah .. I think I'm going to start a band'. But then when 'Catch a Fire' album came out I thought - ooh they're taking reggae serious. Because before you didn't have guitars, cause I play guitar, they didn't have guitars - rocky solos you know ..cause I like a bit of rock. I used to be into a band called Isley Brothers, simply because of the guitar playing on it. So anything with guitars used to just blow my mind. And it's like this particular “Catch a Fire' album I was like I couldn't believe it - I must have worn out at least two copies of it. Because they had guitars on it, they were talking about consciousness. It was well produced, it had attitude and it made me start Steel Pulse, you know. If it wasn't for this album there probably wouldn't be a Steel Pulse. So that's the importance it has for me.” Basil Gabbidon: Edwardian Tearooms, Birmingham Museum and Art Gallery, 28th January 2019 Basil Gabbidon: Producer - Reggae Rockz - the story of Reggae music, a journey from Africa to the U.K. The Wailers: “Catch a Fire" released 1973 Basil Gabbidon https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_jg3h72_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_ueqaj48a_tf6bv1_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_ueqaj48a_wql3po_BENNIE-MAUPING_wb_WELLIS.jpg Bennie Maupin: Musician ERIC DOLPHY: OUT TO LUNCH! "My One LP - yes, it’s the Eric Dolphy album he did on Blue Note called Out to Lunch!And the album has Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams. And it is such a phenomenal shift from anything that had been done on Blue Note Records. The compositions and the playing and the quality from Blue Note was always good because of Rudy Van Gelder. And he captured this in such a wonderful way. It just resonated with me, you know? It’s one of those things you want to listen to over and over. And that’s why itbecame one of my favourites. There are many things that I’ve heard but I don’t think anything I’ve heard resonated with me the way Eric’s music did on this particular recording. He seems to have been at a very fine peak in his development and this really made me want to go and be better. Eric Dolphy." Bennie Maupin: Hollywood CA, 11th April 2014 Eric Dolphy: Out To Lunch! released 1964 Bennie Maupin https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_8djldl_BENNY-GOLSONwb_WILLIAM-ELLIS.jpg Benny Golson: Musician Dizzy Gillespie and Dexter Gordon: Blue 'N' Boogie "Well - I've been around for a long time, and during the time when I got started there were no such things as albums so there were no covers! Cause there was a time of the 78 recording with 3 minute at tops for each recording, so whatever the person was going to present they had to present it within the 3 minute framework. Sometimes you didn't get the bridge of the song and they went out and things like that so they had to gear it for the 3 minutes and that's what I grew up with when I started that's what was going and later the 33 1/3 records came into existence - and they weren't 12 inch LPs they were10 inch LPs! And then later the 12 inch LPs came, yeah. And then later the albums came with the album covers at was much later though - it wasn't in the beginning! I had many heroes in the beginning, my first one was probably Coleman Hawkins and then Don Byas, Ben Webster, Lucky Thompson but then one that really got me down the line was a fella named Dexter Gordon. And he made a recording with Dizzy Gillespie and when I heard that my life changed again - it changed when I first heard the saxophone but when I heard that recording Dizzy Gillespie and Dexter Gordon it opened up something else for me cos his style was different from Coleman Hawkins and Don Byas and Ben Webster, it was another sound - even different from Lester Young. Like I said it opened my ears up when I heard that and I started trying to do other things because at that time I didn't have my own interpretation or concept - like money in the bank to reach in and do what you want to do, I had nothing in to reach in to get. So I was eclectic, imitating everyone - piano players, guitar players trying to understand what this thing called jazz is all about.Especially improvisation cos that's what jazz is all about. Nobody comes to hear the melody over and over again - after the first run of the melody they want to know what you've got on your mind musically! And you have to have something to say: you should have - and it takes a while to get to that point. Dexter had something to say in a little different way than the others, and to me, at that time - it's a long time ago - it was pretty hip, pretty hip. And from there you continue keep reaching - reaching then eventually you develop your own sound - whatever that is, and even when you develop your own sound and after a while maybe you even want to modify your own sound maybe wanna hear something else. Then you go through periods like Picasso did you know, like Cezanne came in: with the Cubism - then he went to pointillism and he went through many things. I saw some of the things that he did he did as a student and the anatomy was almost like a photograph - and then later he had one eye up here and one below and the nose over on the side and you maybe ths guy doesn't know anything about anatomy - he did - but he had a different perception as time went on. He went to pointillism which looked like little vertical scratches - I mean incredible what he did! And musically that's what we sort of do as we continue to reach. We think - while we're striving 'at this point' - whatever this point is, 'I'll be satisfied.' But when we get to that point somehow we're not satisfied - we're always striving to best ourselves - to get better at what we do, and to understand our selves better. Because what jazz is all about is improvisation and when you improvise you're bringing into existence things that had no prior existence - it didn't exist. Whether it's 2 notes or whether it's a whole series of notes - your playing them that particular way did not exist. So you have to have - imagination. If you are going to create something that had no prior existence you have to imagine things - because they don't exist! And that's like an adventure I fancy it's like a big game hunting like a safari but we're only we're not hunting live game - we're hunting new concepts - new ways of doing the old things, new ways of expressing yourself. These extrapolations sometimes are just as important as the new discoveries, because you're bringing new life to it and you're presenting it in another way, Dizzy Gillespie during that time when he was coming up, that's what he was doing - he took the old tunes like 'Whisperin' and putting another melody on the chords and calling it 'Groovin' High'. Tadd Dameron took 'What Is This Thing Called Love' put another melody on the chords and called it 'Hothouse'. So this is an exciting time - 'Ornithology' was 'How High The Moon' and then it went on from that to total different concepts, different titles and different melodies. In the beginning we used the old structures 'What Is This Thing Called Love?', 'Whispering' as time went on we did away with those and came up with our own concepts, that's how I came up with 'Whispering' - 'Stabemates' and whatnot. It wasn't 'What is Thing called Love?' any more - It was something entirely different, but we had to graduate to that point because we were going into areas that didn't exist - and we were like the pioneers goin’ into - opening doors along the corridor to see what's behind these doors. It was like an adventure everyday, couldn't wait to wake up to try again. What can I do today better than I did yesterday? Where am I going? You ask yourself all those questions - what is it I want ? What am I trying to achieve? And sometimes we didn't even know that. Everything was so new - so all those early days were like an adventure. And still today - I'm an old guy today - but I've still have my ears open and I still think there are things I would like to that I haven't done yet even in my old age you know And it's still has that sense of adventure to it - yeah. It's creating things - improvising - what you're doing on an instrument or pen on paper - which is a form of improvising. It's exciting and it's adventurous and I think I'm still a part of that because it still awakens certain things within me creatively and I don't want that to die - I don't want to lose that - if I lose that I might as well get a job as a wash room attendant or selling groceries. Yeah - I love this music called Jazz. And as Sonny Rollins said "There's no end to it." Nobody says - 'well I'm at the end of it and I don't need to study any more - I know all there is to know.' There is no such thing -and no one person knows everything,so we keep going ahead. Some of it's good, sometimes some of it's bad - stinko, and we reject it start over again but it's a great thing trying to arrive at these things. Oh yeah - and when you achieve it - oh it's like giving birth all over again, we wait in that maternity room and wait for the slap on the butt - it's alive! Yeah - it's an adventure of sorts - yeah - and I'm committed, I really am, and I guess like Sonny Rollins said "There's no end to it." They ask me a lot of times - "Mr.Golson - what is the favourite tune that you have written." And my answer's always the same "I haven't written it yet." There's always something to do." Benny Golson: The Royal Conservatoire of Scotland, Glasgow, 17th September 2015 Mr Golson cited a recording of Dizzy Gillespie with Dexter Gordon, I deduced Watson that it's Blue 'N' Boogie. The Dizzy Gillespie Sextet with Dexter Gordon released 1945 Benny Golson Special thanks to Tommy Smith for kindly arranging the session. https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_20b29l_BILL-LAURANCEwb_-WILLIAM-ELLIS-copy.jpg Bill Laurance: Musician HERBIE HANCOCK: SUNSHINE “So my album of choice - it's a tough one - always a tough one! But if it has to be one then it would be an album called 'Sunlight' by Herbie Hancock which I first heard when I was 13 years old, on the way to Italy actually. I was in a car and I'd just bought this record on CD and I put it in my little CD player and I remember being sat next to my dad listening to it on my headphones and it was just a kind of epiphany. I felt like I was finally hearing a sound that I'd kind of always been looking for almost. There's something about this album, it basically bridges the gap between instrumental groove and improvisation and then full symphonic classical arrangements and orchestrations. So it's kind of bridging the gap of these two worlds in the most eloquent and groovy and original way I'd ever heard, you know. And so, yeah, it was kind of like a very significant moment of inspiration. I felt like this was my kind of template for a sound when I was like 13...14. It's something I've, ever since, been striving to kind of recreate my own version of (laughs). WE And were you playing at the time Bill'? were you playing keyboards then already? “¥eah, yes. I'd pretty much been writing since I was really young and trying to find a sound that kind of satisfied me but I was always, you know, trying to categorize myself whether I was like .. jazz - whether I was making a jazz album or a pop album or, you know, an electronic album. And hearing this kind of made me realize that actually you know you can have all these genres together, they can work side by side and actually that's really exciting when they do you know. Actually rather than thinking - categorizing yourself is a constructive thing - I think it can actually be limiting, you know... to kind of disregard genre as such and just sort of embrace all the music that I've come to love anyway is what I've started to do and I feel like this album was the initial inspiration of that. The other thing is, just the visual, the kind of artwork itself is just legendary because it's just him and his kind of, you know, 70's attire with a gold chain and looking like really for disco times with his sort of semi Afro on the cover and then on the back you have this kind of laboratory of keyboards. I remember just seeing it and just like. looking like the end of the rainbow for me.. just all these incredible analogue synthesizers and a Clavinet and just.. I just think it's such a cool way of kind of identifying where all these sounds came from and it's just him in the middle of this little kind of keyboard laboratory ... yeah great stuff.” Bill Laurance: Band on the Wall, Manchester, 8th March 2016 Herbie Hancock: Sunshine released 1978 Bill Laurance https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_5tirhh_BOBBY-KONDERS-OLPWB_-WILLIAM-ELLIS.jpg Bobby Konders: Massive B Records/Sound Sytem SAMMY DREADLOCKS: M16 “Well you know what you said to bring a record and I wanted to bring a dub plate because a dub plate signifies a lot of my life of -you know, voicing artists. Not only for the Master B Record label but for Master B Sound System over twenty five years ago. Starting with Barrington Levy, Super Cat, Buju Banton and so forth. Nicodemus and Half Pint. And so many more. I brought the Sammy Dreadlocks dub plate with me and just the fact that it's a ten inch acetate dub plate and it kind of signifies if you know anything about me you know I love foundation reggae, I love rub a dub reggae and just the fact that we used to have to work so hard to get money to voice these dub plates and pay them. It wasn't like downloading an MP3, you know, you had to fly Jamaica go to the studio, voice the artist, mix the dub plate and then cut it on acetate, ten inch lacquer you know. Whereas with the record label you'd have to build the rhythm, voice the song, mix the song, master the song. And when you master it you make probably the seven inch lacquer in which they make the metal plate off of and they press the record. Cos you know I have my own label and they used to press in Jamaica, and I pressed in Tennessee and in Pennsylvania and everything so. It's been blessed because I've been fortunate enough I've met most of my heroes, voiced them on dub plate or I've voiced them on my label you know so it's great. Hope I answered that good. Sammy Dreadlocks M16 and this is basically years ago when we were cutting dub plates there was a style amongst the sound systems where top sounds would have their own sleeves and being with Massive B I printed these, I think, in Jamaica. We had our logo and our little character on it that was on the record label. Massive B was the records and you know you leave space to write the artists name and so forth and it's you know - doing what you love.” Bobby Konders: Brooklyn, NY, 7th February 2019 Sammy Dreadlocks Bobby Konders https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_gk1apg_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_ueqaj48a_yd2iwk_BUSTER_WILLIAMS_WB__William_Ellis.jpg Buster Williams: Musician BENNIE MAUPIN: THE JEWEL IN THE LOTUS "This album is special because of one thing - the time. This is during the time that Bennie Maupin and I were with Herbie Hancock and his Sextet and the music was evolving nightly and so when we did this CD – in those days it wasn’t a CD, it was an album, an LP – with Bennie who we finally called Mwile. That’s his Swahili name. Mwile. The music was an expression of the daringness that was happening in our lives and the way the music was controlling us rather than us controlling the music and we were willing servants to the music. This album was done with no rehearsal. We went in the studio, we had sketches of things, and the blending, the richness of the colours and the blending of the harmonies was just amazing and to this day I haven’t heard anything that warms me more than this." Buster Williams: Birdland, New York City, 2nd May 2013 Bennie Maupin: The Jewel in The Lotus released 1974 Buster Williams https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_q2ktix_BRUCE-ADAMSwb_WILLIAM-ELLIS.jpg UNCONVENTION22 | ABOUT View UNCONVENTION22 by ABOUT. https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_611zyg_CHARLES-MCPHERSON_wbwds-c-WILLIAM-ELLIS.jpg UNCONVENTION22 | ABOUT View UNCONVENTION22 by ABOUT. https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_iqt221_1lp_w_Christian_Scott.jpg Christian Scott CLIFFORD BROWN: THE BEGINNING AND THE END Christian Scott: Band on the Wall, Manchester, 18th November 2011 Clifford Brown : The Beginning and the End, released 1973 Christian Scott https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_zb6nzr_CORY-HENRYwb2_-WILLIAM-ELLIS.jpg Cory Henry: Musician STEVIE WONDER: SONGS IN THE KEY OF LIFE "I chose Stevie Wonder's "Songs in the Key of Life" record was one of the first vinyls I've ever heard in my life. And when I heard it, and actually understood what was happening. Musically, it changed my life forever. And the songs now that I listened to it - I still listen to it. And now it has a brand new meaning as a grown man than it did when I was about, you know, maybe eight years old, when I think when I first heard it and lyrically it speaks passed the time it was written - it's so important to what's going on in today's society. The production of the record is, top notch, Stevie Wonder's artistry at this time was going into another, another level, and he was, playing multiple instruments and, you know, he had some of the greatest musicians - Herbie... - so many people are part of this project and this record just means a lot because it shows what can be done when like, you know, when there's a team of people who believe in music and believe in the power of the message of it - "Songs in the Key of Life" stands the test of time. And it will stand the test of time as one of the greatest records ever, in my opinion." Cory Henry: Band on the Wall, Manchester, 2nd Novemeber 2016 Stevie Wonder: "Songs in Key of Life" released 1976 Cory Henry https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_ayowrt_DARIUS-BRUBECK_WELLISwb.jpg Darius Brubeck: Musician ERIC DOLPHY: OUT THERE "Well actually when you introduced the project, I thought - 'I could really work at this - and that would be too much of a challenge!' Or I could just go with what popped into my head, and a very interesting one did. It's 'Out There' by Eric Dolphy. And the reason I think it was a very influential album for me was the instrumentation really. The unusual sonority of cello, bass, bass clarinet - when he played bass clarinet or flute, when he played flute and a little bit of alto but, you know, the changing around - and the cello. So no chord playing instruments as such but just the way those instruments resonated with each other and the way of playing in the kind of post BeBop style - but nothing very formal . You now when I talk about the instruments you might think of it as sounding more like one of the more formally arranged West Coast jazz things that were kind of in that third stream pocket or something - but it wasn't at all. It was actually very New York, it was a bit odd, a bit scratchy - Ron Carter on cello - playing and so forth. But it had tremendous time and feel and it created a sound Universe for me beyond what I thought of as the instrumentarium - the sound universe of straight ahead jazz and yet it didn't sound like a classical cross over kind of thing - like the things that you know - my father was doing with Leonard Bernstein or even Gunther Schuller. It was its own space. 'Out There' really influenced me to try and find those spaces myself." Darius Brubeck: The Spa, Scarborough, 27th September 2015 Eric Dolphy: Out There released 1960 Darius Brubeck https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_ypr51t_DAVID-LIEBMAN-wb_-WILLIAM-ELLIS-copy.jpg David Liebman: Musician, educator MILES DAVIS | GIL EVANS: SKETCHES OF SPAIN “The album is “Sketches of Spain” - Miles Davis in collaboration with Gil Evans, and the reason that I love it so much is because it goes beyond music, beyond idiom, beyond style - and even beyond Spain even though it’s dedicated to the culture of Spain in a certain way. There’s just a feeling on that record between the writing and the way Miles plays that’s just the universal cry of blues, of joy, of humanity and everything .. I mean I get a feeling from that record beyond category and beyond vernacular .. it’s not even jazz it’s art at it’s highest level. I’ve recorded “Sketches of Spain” and played it many times and its a very challenging piece of music, Miles just handles it with such grace and so much class the way he plays the music that .. if it was only that it would have been a great piece - but the writing is great and Gil Evens .. I mean they surpassed themselves on that record for me.” David Liebman: Jazz Standard, New York City, 5th October 2018 Miles Davis/Gil Evans: Sketches of Spain released 1960 David Liebman https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_8meomx_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_ueqaj48a_6qsmh8_FRANK-DE-VITO-wb2_-WILLIAM-ELLIS.jpg Frank De Vito: Musician BUDDY DEFRANCO AND HIS SEPTETTE€Ž: LIVE DATE! "Okay, sure, thank you. Well, we can start with with my probably very favourite jazz album. I've been fortunate, I've done a lot of recording over the years. But when I was about, on my early 20s, I was working with Buddy DeFranco, the great clarinette player. And actually I started started working with him when he I think, when he left when he left Tommy Dorsey. And and started - I was with one of his first small groups. And that was, gosh, that was in the late 40s in New York City. And trying to think of that the other fellows in the group, well, Teddy, Teddy Charles, vibe player, and great bass player. And and who worked subsequently worked with, with with Bird - Charlie Parker, Teddy Kotich - he was in the band, Harvey Leonard was the piano player and I'm going, goingway, way back. Anyway, throughout the years I would do things with Buddy. Buddy came to California and was out I was out here for quite a while and I did various recordings with him and a lot of gigs around mostly with small groups, which was a lot of fun. And, and we did some, oh, one album, which, which I think is really good. A big order orchestra. It's called "Broadway Showcase" And I think Russ Garcia was the was the arranger and Broadway, Broadway songs, you know, great, great tunes. Oh, my gosh, "We're Having a Heatwave". And "Who Cares" and great, great, great arrangements of those things. And we did various albums through the years, but one one of my favourites - it was called "Live Date!” -“Live Date!”. And there's a picture, a picture of a lovely young lady on the cover. And I'll give you the personnel. I'm racking my brains now- it's a long time ago. But these fellas - you can't forget them. Okay, it was Buddy DeFranco's All Star Group. And, course, Buddy on clarinette, Victor Feldman - your countrymen on vibes, Pete Jolly playing piano, and Barney Kessel on guitar. And the young - at that time, young brilliant bass player Scotty LaFaro, Scotty Lafaro. Now, is that everybody? I hope I'm not leaving anybody out. Well, I think Herbie Manne was on that too. Yeah. So and, and the record company. I don't remember. I remember doing stuffwith Buddy in New York with a big band for MGM Records. Now that goes way back MGM. This was all this label. I don't know. But, but if you can get your hands on this, this album that that would of course, indicate the the record company and so forth. But that's that's one of my favourites.I like, I like the way it was recorded. And the tunes we did, and playing with, you know, my buddies that I work with for many years and and and we we got along so well, musically andotherwise. And Barney Kessel - greats. Brilliant player and great sense of humour. And, and and we had a ball doing that and, and of course, Scotty LaFaro. Are you familiar with Scotty? Yeah, yeah,he he got killed. Not too long after that. Yeah. I think it was a car accident, if I'm not mistaken.And then through the years I spent two years on the road with a Terry Gibbs Quartet with the great Terry Pollard on piano. And we had let's see, 1953 and 1954. The Quartet was Terry, myself, Terry Pollard, and different bass players. Bill Crow was one and a fella from Detroit, good bass player, Ernie Farrow And then I don't remember the last one. 1954 and 55 - we worked - there was so many jazz clubs back then some right all across the country. It was great. Oh, yeah. And and we worked like I said, we worked 50 weeks, 50 weeks a year. We could afford 52 weeks - all these clubs, and we worked a lot at Birdland. We're almost a house band. Whenever we were back east we were at Birdland because they love Terry, and in our group we work opposite Charlie Parker and Dizzy and Duke, Basie's band. All of the all of the great all of the great stars of that era George Shearing's group and, and are so many - Slim Gaillard were sometimes there be three three different attractions, and that there was wonderful Earl Bostic. And I got to during during that period, I got to know some great drummers of that era, Art Blakey, and Roy Haynes - Roy and I were were good good friends." Frank DeVito: Viva Rancho Cantina, Burbank CA, 16th October 2018 Frank DeVito Buddy DeFranco And His Septette: 'Live Date!' released 1958 https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_npwxxq_EDDI-READER-c-WILLIAM-ELLIS.jpg UNCONVENTION22 | ABOUT View UNCONVENTION22 by ABOUT. https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_y8i7h9_FRED-HERSCH-3466wb_-WILLIAM-ELLIS.jpg Fred Hersch: Musician GLENN GOULD: PLAYS BACH - THE SIX PARTITIAS "Well, I had a short list of four - five actually, five. One is 'Glenn Gould Plays Bach' and you can see from the rather beat up condition of it. It was a gift to me when it new and I can look at the year, but I was probably not more than six or seven years old when I received that - and it's probably scratched to shit. But it really awakened my love of counterpoint and moving voices - and just Glenn Gould's sense of rhythm is so astonishing and you can't say that about certain classical pianists, they don't really. There's just a joy in his playing. And then Miles Davis 'Friday Night at The Blackhawk. When I listened to that record - that's when I decided I wanted to become a jazz pianist. I loved the fact that it was live, the way Wynton accompanies Miles is incredible - the sense of swing, the fact that it's a live album and wasn't edited in the studio - you really hear the whole performance. I love that it was Miles's debut with this band it's the first time they'd ever done a gig and he had the balls to record it and put it out. You know - that's the kind of person he was. Other album? Sonny Rollins Trio - 'Live at The Village Vanguard' with Elvin Jones and Wilbur Ware which I think is kind of the definition of what modern jazz is, and I've listened to that - I think there's two volumes, I've listened to them I don't know how many times - I tell every student I have 'You have to listen to these - this is what jazz improvisation is.' Joni Mitchell's 'Blue' album. You know, that in a weird way led me toward jazz trying to figure out what the chords she was playing were because they weren't major, they weren't really minor. To a high school ear they were very mysterious. Just the way she tells stories and I've set a lot of text and she's kind of my guru for how to take a complicated text and make it understandable - set text. The other album was 'Mingus Mingus Mingus Mingus Mingus' which is, to me, - I've sort of talked about it as kind of like Duke Ellington on acid. It's kind of a mid sized ensemble and the way Mingus and Dannie Richmond play together is kind of miraculous, and Jaki Byard is on it and I eventually studied with Jaki Byard. So these were the five. I will probably pick ‘Glenn Gould plays Bach’ in the end. You know Bach is the composer that everybody loves - first of all.- you can’t not love Bach. There’s not only the most sublime craftsmanship but, as they say, he wrote for the glory of God. Nobody commissioned him to write these piano pieces he just did this because this is what he did. And he had twenty two children and he wrote with a quill and ink and no copying machines and no music notation software - and candles ... and he created all this universe. I think probably a distinctive feature of my jazz playing is its contrapuntal nature and it was really launched by not only listening to these albums, this three disc set I think, but by playing those pieces and understanding how three independent voices can be a whole universe. The other reason that musicians love Bach is there are no dynamic markings, there are no tempo markings, very rarely there is a slur or an articulation marking but pretty much you have to do it all yourself and there’s no one correct way to do it. When you’re playing Bach you decide how you’re going to articulate the theme if it’s a fugue. Nobody can tell you that’s right or wrong, and as long as you make a case for it - that this is the way you hear it and you’ve really thought about it and you can execute and sell your performance. It’s like there’s no perfect Hamlet or there’s no perfect version of 'Autumn Leaves'. There are many possible versions, it’s just - they’re templates for whoever inhabits them and I think Bach’s music is universal in that way. It’s the music that I always come back to. So I think that’s what I’m gonna pick." Fred Hesrch: At home, New York City, 3rd October 2018 Glenn Gould Plays Bach: The Six Partitas, The Two and Three Part Inventions Fred Hersch https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_rwjbhd_GARY-CROSBYw_William-Ellis2599.jpg Gary Crosby OBE: Bassist,leader,producer,educator JOHN COLTRANE: A LOVE SUPREME “John Coltrane's '"A Love Supreme". I discovered it when I was about 21 and it was listening to that album that made me say I wanted to be a jazz musician - although I was already playing jazz before but I was fooling around - it was listening to that music. There were a few Coltrane albums I heard before that I enjoyed ...."Africa/Brass'"was one - but it was "A Love Supreme" that made me realise the depth, the breadth of this music .... yeah, and it's one of the great classics anyway of our music.” Gary Crosby: Llandudno Jazz Festival, 26th July 2015 John Coltrane: A Love Supreme released 1965 Gary Crosby OBE https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_xv8fqs_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_ueqaj48a_rfg3yz_GERRY-CONWAYwbWILLIAM-ELLIS.jpg Gerry Conway: Musician LES MYSTERE DES VOIX BULGARES “I just find that it reaches kind of deep inside. The name of the album - it's Les Mystere des Voix Bulgares. These are Bulgarian - well I think it's like a national choir now but they sing Bulgarian folk songs - they're also work songs. They're what people sung in the fields during their labors and they are the most extraordinary voices. It's kind of a sort of open throat singing. Great power in the vocals and it's so that you couldn't give anymore - if you were singing they just give everything they've got. and it just sends tingles up my spine when I hear them sing. Some years ago I happened to be somewhere and I met one of the singers and her name is Kalinka and she was one of the main singers in the choir. She was married to Martin Jenkins the guitar player. So I was actually lost for words when I met her because I couldn't believe my luck having someone that had that special voice. (W - from the point of view of voices would you say it's somethings that's influenced you in your approach to music - or would you say that it's kind of a separate appreciation that you just happen to feel for it?) What I listen to can be coming from anywhere, any genre. It's just if it touches me it does and that's one of the things that does. It could equally be a piece of jazz, a bit of reggae, some classical, anything at all as long as it does that thing then I will instantly fall in love with it.” Gerry Conway: The Citadel, St Helens 26th November 2015 Les Mystere des Voix Bulgares released 1975 Gerry Conway -The Dylan Project Fairport Convention https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_eoo3uc_GIANNI-VALENTIwb_-William-Ellis.jpg Gianni Valenti: Proprietor of Birdland OSCAR PETERSON: WITH RESPECT TO NAT "One LP - absolutely Oscar Peterson. He was a very dear friend of mine. He played for us at Birdland on a number of occasions. We became very close and I visited him manytimes at his home at Mississauga in Toronto. And one visit, we were in his studio and he said, ‘I wanna play you a disc.’ So we went into his little room and he had a wall of discs. He actually had recorded perhaps 250 discs, whether they were just a trio or with others. And he always kept a copy, a beautiful library. And he pulled one out and started playing it and he said, ‘What do you think?’ And I said, ‘Nat sounds great.’ It was a Nat King Cole song. And he said, ‘That’s not Nat.’ And I said, ‘Well, who is it?’ He said, ‘That’s me.’ And I says, ‘You’re kidding me.’ And he says, ‘No, this is an album I did after Nat passed away, With Respect To Nat, in 1965, on Verve Records.’ With his trio, with Herbie Ellis, Ray Brown and of course Old P at the piano. And the album is fascinating for me because I get to hear him not only as genius at the keyboard but hear him sing. And when you hear this album, you have to say, ‘That can’t be Oscar Peterson singing.’ You think it’s Nat King Cole. His voice and Nat’s were so similar. And he told me the story behind it, why he did that album. There was a running thing that the two of ‘em had. Cos Nat was an excellent piano player. Whenever Nat would show up at one of Oscar’s gigs, he would invite him up to play and Nat would go wild at the piano. And then Oscar would get up and he would play and he would sing. So one day after the gig, he told Nat, he said, ‘Let’s make a deal. You stop playing the piano that way and I’ll stop singing this way.’ That was it. So they were brothers, they loved each other dearly. And unfortunately when Nat passed away, Oscar was really taken aback. He was hurt to lose a friend like Nat. And this was a way to pay his respects to one of his dear friends, and of course the album is titled With Respect To Nat. And to this day, like I said, to hear Old P singing and playing at the same time, I couldn’t have chosen a more loving and dear album to me." Gianni Valenti: Birdland, New York City, 2nd April 2014 Oscar Peterson Trio: With Respect To Nat released 1965 Birdland https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_x92z9j_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_ueqaj48a_lnluzw_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_ueqaj48a_0t01og_JBRUCE_swb_WEllis.jpg Jack Bruce BAND ON THE WALL: MANCHESTER, 24TH MARCH 2011 I was very sad to hear of the passing of Jack Bruce and would like to share with you my recollections of once meeting him when he kindly agreed to be in the project and how he has been an inspiration to me from an early age. I’ve played electric bass since I was around 15 when a school friend who was having guitar lessons asked if I would like to try and get a band together. I got a Hofner Senator bass for Christmas and set about learning to play Willie Dixon tunes – twelve bar blues and rock and roll. I had no knowledge of bass except for noticing Paul McCartney only had four strings on his guitar… As my interest in the instrument grew I became aware of other players – Jack Bruce was at the forefront. Even with my very limited outlook I knew he was like nobody else and he became my bass hero with Cream. I heard that he was playing at Band on the Wall in Manchester I decided to approach him with the help of friends at the wonderful venue to invite him to be in the One LP Project. It didn’t start well, Jack’s response to the invitation was not positive – in fact he thought it a stupid idea. I wouldn’t give up and decided as he was on tour - and quite understandably perhaps he hadn't had the time to get the full information so I wrote again clarifying things and emphasising the key interview aspect. It turned out Jack’s initial impression was that it was just a photograph of him with the record. So I understood his initial reticence – particularly from the point of view of a man who had survived everything and every situation thrown at him through the sixties and beyond and wouldn’t waste his time on stupid ideas. He kindly agreed and we arranged that the shoot and interview would take place during the first set when his 'Big Blues Band' with another bassist were playing and Jack would have time to get in, relax and do the session. So I set the light up - in a white room, tested and waited for Jack to arrive, soon he came downstairs with his road manager. I introduced myself to the road manager and was told that Jack would do the shoot after the show, which was not good news in as much as I knew he would be tired and perhaps less inclined to go ahead. I had brought along a mounted print of Charles Mingus’ beautiful carved Barbary Lion bass head for him as a gift and gave it to his road manager, who was so helpful, I'm sorry I can't remember his name. He took the picture into the dressing rooms to give it to Jack who almost instantly he flew out of the room asking me in the manner of a barrister: “Who had the bass?” I was surprised at this question and replied (and quickly I can tell you) - that Sue Mingus had it and I’d photographed it after a performance in the Old Fruit Market in Glasgow. Acquitted of implied charges he thanked me and returned to his dressing room. Exciting times - I’ve no idea why he asked except perhaps in a protective way concerned about who had access to such a unique historic instrument. I stripped the light - a Bron pack and ring-flash, and went up to the concert as Jack was preparing to go on at the side of the stage, I took a few frames but was being very careful not to get in his way. After he went onstage I noticed his spare bass and I thought – now or never – I asked if I could hold Jack’s spare bass – his road manager obviously could spot that I was an absolute fan and said ok. I feel a bit silly telling you this but it's part of the story of how special - and challenging the evening was from my perspective. I held it and silently for a moment then played a couple of notes and handed it back before the spell was broken. I don’t know whether he told Jack what had happened, I think he would have smiled - actually I think he would have laughed. I took some photographs during the performance and a few minutes before the end I went to set the light up again and wait. Shortly afterwards the guys came down the stairs and Jack headed for his dressing room. After around 10 minutes I knocked on the door, really not knowing what to expect. I know it’s tough on the road and every moment you can relax is important, I wouldn’t have blamed him had he finally declined but thankfully when we spoke he was still up for it. The session is usually done in 3 – 4 minutes, I like to work fast to capture the energy as thoughts and emotions come to mind when people connect with and talk about an album that’s very dear to them. Back to Jack, we were at the last crucial stage and I felt we'd been through quite alot together in a couple of hours. I felt somehow and we might be right on the cusp of something special when Jack said: “Do you mind if I’m in disguise?” “No,” I answered, “not at all.” He was offering to do a lot more than he needed to do; he was collaborating with me to create the picture. Jack left for a moment then came back into the white room and stood just as you see him in the portrait, hands just so. The Rock Star - or maybe it was a disguise. Throughout his career he had always played the music he wanted to and if that meant being a rock star from time to time he did it. He spoke about his One LP:- "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 compositions 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." I was mesmorized when I heard this prose from a truly great artist. He had transformed what at times had seemed a hopeless quest into an unforgettable touching experience which I shall always treasure - working with a boyhood musical hero of mine who was heroic in his life’s art in so many ways. Jack Bruce: 1943 - 2014 Jack Bruce © William Ellis https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_gpa1uc_JOHN-MAYALLwb_-WILLIAM-ELLIS.jpg John Mayall: Musician CRIPPLE CLARENCE LOFTON: JAZZ IMMORTALS WE - Mr Mayall - we've got a Cripple Clarence Lofton album here and I wonder why is his records are so special to you? "Well it was just a very different kind of style he had and err you know that was the only album you could get at the time. So, you know, he didn't make too many other songs than the ones that are on there. So definitely a good 'un." WE - Would you say that he was a formative influence on you getting into the career that you took sir? JM - Not necessarily but he was certainly an influence on sort of the ideas that, you know, that I tried to do myself." John Mayall: Bridgewater Hall, Manchester, 21st November 2017 Cripple Clarence Lofton: Jazz Immortals 1 - 10" vinyl. Release date unknown John Mayall https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_bix91g_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_ueqaj48a_sw8vxw_JMARR_WEllis_wbwds.jpg UNCONVENTION22 | ABOUT View UNCONVENTION22 by ABOUT. https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_tkqkti_JON-FADDISw_William-Ellis.jpg Jon Faddis: Musician DIZZY GILLESPIE AND ROY ELDRIDGE: SOUL MATES “ I remember getting this as a present from my sister on my 11th birthday. And I just remember how excited I was - and I listened to that record thousands of times. It wasn’t my first Dizzy Gillespie record but I think it was one of the most important because I couldn’t stop listening to it. Dizzy - Roy back and forth, Dizzy - Roy back and forth. So - there you have it!” Jon Faddis: Wigan Arena, July, 2014 Dizzy Gillespie and Roy Eldridge: Soul Mates released 1954 Jon Faddis https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_4p54ot_LOUIS-HAYESwb1_-William-Ellis.jpg Louis Hayes: Musician HORACE SILVER: 6 PIECES OF SILVER “This LP was recorded in 1956 with Horace Silver (I chose it) because it was my first. When I first came to New York I had the opportunity to record this album and I enjoyed all the music that he had written for it so it will always be one of the most special albums I’ve ever recorded - Horace Silver and all the musicians that participated on the album.” Louis Hayes: Ronnie Scott's, London, 9th February 2017 Horace Silver: 6 Pieces Of Silverreleased 1957 Louis Hayes https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_gnt2uy_MARCUS-MILLERwb2_William-Ellis_-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" released 1958 Marcus Miller https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_bcxmr8_JON-HENDRICKS2wb_-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. WE - "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.” WE - “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 - the peerless 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 have been working on a major piece based on Miles Ahead which will be performed by the London Vocal Project in New York and London. More Roy DeCarava https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_l00wue_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_ueqaj48a_l5np03_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_ueqaj48a_lgdu4y_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_ueqaj48a_2xhn0n_KENNY-WERNER-OLP-wb_-WILLIAM-ELLIS.jpg Kenny Werner: Pianist, composer, author, lecturer MICHEL COLOMBIER | WINGS “Well, its called “Wings” and its by Michel Colombier he was a movie (score composer)… he did a few jazz records too and Herbie Hancock and those guys played on it …but he did a lot of movie sound tracks but he and Herb Albert became tight and Herb wanted him to do a record that was like .. expressed the whole world ..and it is. I’s a blend of pop feeling of the time …1970 but Stravinsky, Brazil '66, The Beatles ..but none of that at the same time. It’s just one surprise after another. It’s very dramatic and it is my favourite record. It’s a flow of ideas from different types of sounds but he almost outdoes everybody that it’s derivative of ..it’s amazing.” Kenny Werner: Jazz Standard, New York City, 5th October 2018 Michel Colombier: Wings released 1971 Kenny Werner https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_zpef71_MARTIN-CARTHYwbWILLIAM-ELLIS.jpg Martin Carthy: Musician LIBBA COTTEN: NEGRO FOLKSONGS AND TUNES “There was a woman I heard in 1959 - a woman called Elizabeth Cotten L-I-B-B-A - Libba Cotten and she played a thing called 'Wilson Rag' but also played 'Freight Train'. She was the person who gave the world Freight Train and I heard her name when when she a representative of hers sued Chaz McDavitt and Nancy Whisky because they claimed to have written it - and she wrote it and she won the law suit. And then I heard the record and bought this record. It was on Folkways Records and it was on 'Negro Folksongs and Tune's... it was of its time! And its second track was Freight Train and I just remember listening to that - listening to it - and thinking - I want to one day play as lyrically as that - that's how I would love to play. I didn't understand until later on that she played left handed and upside down. She always wanted to play and her brother had a guitar and he wouldn't allow her to use it c'os it meant having to switch the strings all round - so she just learned to play upside down and fashioned this way of playing that was just beautiful, beautiful beautiful thing, very delicate and beautifully lyrical and I thought ‘if I can ever play like that I'll be a happy man’. And that's one of the people on my record.” The other two were singers, one of them was a Yarmouth fisherman called Sam Larner. He was about 80 when I saw him singing - he was just amazing.. WE - “When was that Martin?” “When was that... I reckon it was 1958 or 1959. So I was 17 - I might have been 18 - and I just heard this old man singing and he sang a music I couldn't have dreamed of. Just absolutely beautiful stuff because English folk music - the real thing- is very, very odd, it's really odd and I kept thinking 'nobody can sing a tune like that - that's the weirdest tune I've ever heard in my entire life. It was his way with a song called 'Henry .... he didn't call it ' Henry Martin' but it was his way a Henry Martin story and it was just beautiful and I walked home thinking 'it's crazy - nobody can sing a tune like that and I was Lah lah -ing the tune to myself as I went along thinking ‘'nah.... you can't sing a tune like that' .... I didn't see the joke for 20 years you know. ( laughs). And the other one was this - he's a traveller a Scotts traveler/singer you know called Davy Stuart (Hutchison) who I used to do lots of gigs when I used to tour up in Scotland a lot - lovely bloke - he was a traveller and he was wonderfully bonkers and he played a huge piano accordion when he sang and his chording was from another planet. It was just - when I first heard it I thought it was all wrong but as I got used to it I thought it can't be done any other way - it's got to be his way or the highway. (Laughs). WE - “Created his own kind of ....... MC - “Absolutely, absolutely, absolutely right. What he did was right for him and he was another one of those old men who had a passion about his singing. I hear it now and I'm just .. I still get.... I still get goose pimples - every hair on my body stands on end - I haven't got much left but what there is stands up to attention when he starts to sing. And my favourite song of his is a thing called ‘MacPherson’s Farewell’ about a fiddler who's being hanged and err, they wind the clock on a quarter of an hour because they know the reprieve is coming. So they put the clock on a quarter of an hour. So they hanged him and before they hanged him he took his fiddle and he smashed it saying 'no one else shall play this and whack! - smashed it. This bloke sings that song - absolutely beautiful - Davy Stuart.” WE - “Martin - that’s so wonderful to hear, thank you - so special.” MC - “Put those three names on that record - ‘Libba Cotten with Sam Larner and Davy Stuart’. No such album - never will be - unless I do a sensational remix! Nothing’s impossible these days!” WE - “Martin is it a big tour?” MC - “Well - it's been going on for about 54 years so far ... it's not over yet!” Martin Carthy: Band on the Wall, Manchester, 3rd July 2015 Libba Cotten: Negro Folksongs and Tunes released 1957 Martin Carthy Sam Larner https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_k0j9ph_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_ueqaj48a_3chkzz_MARY-STALLINGSwb-c-WILLIAM-ELLIS.jpg Mary Stallings: Musician MARY STALLINGS - LIVE AT THE VILLAGE VANGUARD "Well, in the first place that was the first live recording that I've done, you know, after, after taking some time out from business and recording with several other labels prior to this recording. And just the chemistry, everything was right. Actually, Lorraine Gordon pursued me and she said she's trying to find me for three years. And I can tell you how many people she's, you know, tried to, to get me to work her club - Village Vanguard. And so one day - she got my card from somebody and she called me on the phone herself. And I remember I was, was sleeping and woke up and she says, Well, I always imitate her - 'Mary Stallings?' I said yes, she's speaking. She says 'oh boy. I've got her. I've got her on the phone right now.' And she was so excited. And I said, Lorraine Gordon from the Village Vanguard? She said, 'Yes, I was going to explain it. I've been trying to get you girl for for three years and finally I gotcha.' So anyway, I got a chance to perform - work at her club and at the same time I was fortunate enough for the Richard McDonald from the Maxjazz Recordings to summons me - he came out to San Francisco to hear me because he knew I recorded with Concord - I did three projects and he found I was not going to be with anymore because Carl Jefferson, the owner of the recording company, passed away. So anyway, he told me he would love to do some projects with me and I said - oh, of course! So we did some business and and at the same time Lorraine said ‘It will to be wonderful. You know I've never had another singer to perform and you know, I'm not I really want you to do this.’ And I said oh Lorraine! So it was really great. So History - she made this happen with along with with MAXJAZZ. So I was thrilled to do it because this is my favourite because it's live. It's really truly I think me. Closer to being me. I'm better myself you know when I can tell a story to people around me and they were just embracing me that night, you know - the audience and, and working with Eric Reed for the first time because I've heard of him so many years you know, this young kid out here killin’ it. So we came together and did a couple of concerts together and out of out of that this happened. Yeah, so it is my favourite because as I say is closer to being me. You know - (it shows) the many faces of Mary Stallings I feel, because it shows my roots, my gospel roots, but I kind of have a thing for classical music, and I think there's one song that kind of gives the range of what I really do. Because just hearing me, you know, ‘straight’ I(but) to really know me is a variety of things that I feel and I have purposes for most of things that I do sing and sometimes some helped me to embellish a little bit more than then I would normally do. So, like I said, it's just a good feeling and good people in the audience and it was just so excellent night. A night for me to really remember.” WE “Wonderful. Thank you Mary, just lovely.” Mary “Oh it's my pleasure.” Mary Stallings: Ronnie Scott's, London, 21st January 2020 Mary Stalling: "Live at The Village Vanguard" released 2001 Mary Stallings https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_6ajavj_LIONFACE-wb_-WILLIAM-ELLIS.jpg LionFace: DJ.Producer, Dubplate FRED LOCKS: BLACK STAR LINER / TRUE RASTAMAN “Well actually Fred Locks is the artist, which is Fred - Locks, and I should think it's his first album when maybe I was like around - I could say about nine - ten years old, maybe. Well yeah it's Fred Locks is "Black Star Liner" and that album is like what I would call, I would call it Rasta La you know. It's one of the first albums that I really got inspiration from and knowledge of it like, you know, of Rasta and like them. Well I was born in Trinidad, right. I was born on the island of Trinidad San Fernando way down in the south and I grew up at that tender age - I left Trinidad when I was thirteen. At that time at that young age I used to be amongst some notorious Rastas, you know. As a youth you know you always want to be around the big man. The big man - the bad man, the big man. Know what I'm saying? So I would, in the night I would wait till they go into party and follow them, you know, cos most of time, most of the time we walk like for miles to the party. I would like wait on corner in the bushes and wait till they, you know, and follow them and then after when we get to the party - actually they would see me and like 'yo go home, go home boy'. And I would like - I would go hide and like wait and I would like follow them like still like a half a mile after them and when they reach the party then I would like show up again and they would be like ' but I told you to go home'. 'But I'm not going - I want to go party. ' 'But you have no money'.bYou have to jump over fences and stuff to get in those parties, yeah. But coming back to Fred Locks, as a little youth nine .. ten years old .. one of my elder sisters - Judy..she passed away from cancer a few years ago..she had a boyfriend who was a Rasta, yeah, and he had a sound system called House of Dread HiFi. Like you know cos I, a lot of people wouldn't understand I've been seeing this sound system thing from when I was a tender age even before I came to America, even before I went to Jamaica I've been experiencing and witnessing these things in Trinidad as a little youth, you understand me. And so my sister's boyfriend would bring over records and leave for her to play, yeah. Like you know Big Youth album with the red, gold and green teeth and you know -what is it called..Natty Dread yeah. And you know the Fred Locks and you know mostly in that time, growing up in that time, the most popular songs were like of Joe Gibbs label, in my time -growing up in Trinidad it was Joe Gibbs label. Those 12" disco mixes were like the most popular music like, you know, the combinations with Dennis Brown and Prince Mohamed and like Culture and Nicodemus, you know stuff like - those 12" disco mix. Mighty Diamonds, Like a River etc, and you know. Those kind of 12" disco mixes with the singer and then the DJ like, you know. The singer and then Trinity after, you know. But then there was another side like a culture side,yeah, which I really took to cos I had the opportunity of playing the albums cos as I said my sister's boyfriend used to bring them over and leave. And when she goes to school, when I would come home from school ..I would try to get home from school as early as possible, right, cos my father had a thing - we called it gram.it's this long, t's like maybe a couple of feet long the speakers are on the front - you know what I'm talking about ..and in the middle you lift up the lid and there's a turntable down there in there with the knobs and stuff,yeah. So that's where I started from. I would pray for my father not to come home early from work and try to get home before my sister gets home so I could play those records and Fred Locks is one of them like, you know. I really love that record like to the maximum Blackstarliner .to this day, you know. I even left Trinidad with it as a little youth, like, the guy who owned it Hans gave it to me you know. And so yeah, and even coming to America -well actually I left Trinidad and migrated into the US Virgin Islands, yeah, and I came to New York where I got my diploma, yeah. And so when I came to New York I happened to me, like two blocks away from where I lived ..I came to New York in Brooklyn Sterling Street and Rochester my sister lived there and then next to that I woke up. William - would you believe, the next day I woke up I walked two blocks over to Utica Avenue and it was like my dream come true. Would you believe William who was standing on those corners..Sterling Place and Utica Avenue two blocks from my house - people who Ive been dreaming of seeing. I've been playing their records from when I was a little youth. Nicodemus, Louis Lepkie, Lee Van Cliff Cliff. Like these are like - agh!!what! And then every day they would, cos they have friends that would you know be on those corners from Jamaica ..those people from round that area they ..every artist that comes from Jamaica they know them all. They know the artist very well so all the artists come round here and check them, so I would be like yeah well that's the place to be. So I would be there every day, you know, started hanging out getting to know people then, you know, people getting to know me and I would just fall into it,know what I mean. Fred Locks was one of the first like main reggae albums that inspired me, that made me love reggae music. Not even Bob Marley at the time but it was Fred Locks yeah. So Big Up Fredlocks, yeah man. Even to this day.I need to add to it that after migrate you know to New York and happen to be working in a record shop, this reggae record shop, in Crown Heights Utica, Crown heights Brooklyn one block from ..between Utica and Scenectady It was called Rockers Forever. And I was very very very very good at selling records, you know, very very good at selling records and cassettes. Live dance hall cassettes and I would make custom cassettes for customers who come in and like ' I need these songs and these songs' and they would be like so satisfied and I was really into it from, even as I said from a little boy House of Dread HiFi when I was ten year old. I used to jump my fathers - when my father go to sleep at night open up the back door - jump over and I said go follow..you know - those guys and stuff. I would go far away to quite out of town - follow them on the truck with the sound ..they'd be like, you know 'Put that in the case and put that in the case and go put on this record and stuff', as a little boy. So you know it always stuck with me it was in my blood. Actually when I moved to the Virgin Islands I moved with a like a box of records, there was those same Joe Gibbs 12" and stuff that I was telling you about. And those people in the Virgin Islands they didn't know anything about those music all they knew about was Bob Marley, Third World, Culture, you know the group Culture, stuff like that. Like cultural music and then I introduced, we call it rockers. In high school I used to make cassette tapes and stuff and it was the most popular cassette tape, it was like new music to them. And I came to America and as I said then, talking about Fred Locks now, so while moving to Crown Heights, working at the record store there was this guy who had a sound system called Addis HiFi, which you would know as Addis international now, Addis HiFi that's how it started. The owner of Addis HiFi used to come around to the record store and buy records every Saturday and then he used to just love how I sell records and how - you know. And one day he came and said 'Man do you want to join my team, you want to join my sound system, man you bad in the record store, like you bad ass in the record store. You want to join my sound system'? I was like whaaat! I'm like yeah ok. On Monday there's a holiday, there's the sound systems going to string up outside around the corner just come around and get yourself familiar. And I went around there ..that was it..that was history. And then I became part of Addis HiFi. And so I met the great Danny Dread the famous selector , Danny Dread from Volcano, Papa Roots, King Atarney. One of the original foundations selector of dancehall Danny Dread. And so he mentored me, right so, I grew up on that team. He mentored me and I develop that skill, right. Actually we started I used to be a DJ on the mic first with Supercat and Nicodemus and Tenor Saw and Chuck Turner and everyone who came to New York used came around there by Addis HiFi and practice every night, there was like a party every night. And so the sound became very famous. We started taking on ( class town clash) dates and so I became one of the baddist ass class selectors in the world over the two decades. You know you could look me up , Google me , you know LionFace aka Babyface formerly of King Addis. And so Dub plates. Just to close it off talking about Fred Locks again and so dubplates was a thing that I used to be like .. I lived for dubplates. I was the first one to voice like Billboard hip hop dub plates. I used to be like 'what can I do that the rest of sound systems not doing..what can - to take myself up to another level..like you know. So I used to study about dub plates like ten days a week - there's only seven days in a week ..I used to study about dubplates from morning to morning. I used to be searching for artists that never voiced a dubplate yet etc etc . I always used to be like 'who we haven't heard yet on a dub'. and that's how I always went that way and then I came across .... Gosh I've never voiced Freddy ...I was like Fred Locks ..gosh William ..Fred Locks my reggae hero he's never voiced a dub yet. And then he would happen to be in New York and I called him, I got a link with him and I called him like 'Fred Lock can you get ..' and he said yes. And we went to Long Island Philip Smart studio, Philip Smart has passed away, and he voiced the first two dubplates for ever in the world for Addis international and so we kept that relationship. Anytime I go to Jamaica I go visit him out in Harbout View where he lives, you know. Yeah so that's Fred Locks , you know. And also you know along with other artists too kind of inspire me and has played a part in my growing up and, you. Know, Steel Pulse. You know in high school like when I moved to the Virgin Islands as I said they only knew about culture not rub a dub music you know and so Steel Pulse was one of the main reggae bands that people in the Virgin Islands they youths they knew in the Vigin Islands along with Aswad. Aswad is Brinsley and Drummie and Gad and man I love those people William man like. Aswad it's like ..man I love ..man Aswad. David Hinds Steel Pulse you know. That's my high school growing up right there and that who played an important part I my reggae growing up and being. Right!” LionFace: Brooklyn Museum, Brooklyn, NY, 9th February 2019 Fred Locks: "Black Star Liner" - released 1976 The Real Lionface https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_6spnb8_MARQUIS-HILLwb-c-WILLIAM-ELLIS.jpg Marquis Hill: Musician DONALD BYRD: OFF TO THE RACES “Yeah, it's a Donald Byrd record called “Off To The Races” - Blue Note release. I want to say maybe the late 50s. But for me, it was one of the first records that really exposed me to Donald Byrd’s sound and he's one of my major influences his clarity and his ideas and his shapes. And also on that record Coltrane is featured - he’s on the project as well. And you know, his sound is powerful and I'm a huge fan of Coltrane as well. So that's one of my favourite Donald Byrd records - the first one that came to mind when you asked me,yeah.” Marquis Hill: Nate Holden Performing Arts Centre, Los Angeles, 19th October 2019 Donald Byrd: "Off To The Races" - released 1959 Marquis Hill https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_bjtg9w_FFMike_Walker_1LP___William_Ellis.jpg Mike Walker: Musician SHIRLEY HORN: HERE'S TO LIFE "Here’s To LIfe - Shirley Horn - it's been one of my favourite albums since it came out about 20 years ago. When I first heard it I was attracted to Johnny Mandel's string arrangements which were typically lush. What was so interesting though was that Shirley Horn really takes her time when she sings. It’s almost like Mandel had listened to her phrasing and matched that. I’d be interested to find out whether he actually put them on afterwards or whether they did it together because the kind of sinuous feeling of them both is just incredible. Also it’s Shirley Horn - who I’ve always loved, who really personalises a song and tells the story of the song as well as telling her own story at the same time. I just think it’s a beautiful reflection of the ups and downs that we all go through, it’s great - it resonates with me. Beautiful." Mike Walker: Todmorden, 26th October 2011 Shirley Horn: Here's to Life released 1992Johnny Mandel Mike Walker https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_0wgwjf_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_ueqaj48a_k9oryj_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_ueqaj48a_22ep31_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_ueqaj48a_rg1k4g_CAROLINE-PM-JONESwb_WILLIAM-ELLIS.jpg Caroline PM Jones: Artist LANA DEL RAY: BORN TO DIE “I’m choosing this one because it’s so much about ‘The Now’ and I feel like I’m so much about ‘The Now’ as opposed to the past. I mean.... we all have so much that we carry with us from the past and it totally informs our future but as you know, this is California. California light. It should be about ‘The Now’, I want to be in ‘The Now’ and that’s why I’m doing this one.” Caroline PM Jones: At her studio, Culver City CA, 30th March 2015 Lana Del Ray: Born to Die released 2012 Caroline PM Jones https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_tbpez7_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_ueqaj48a_cbndci_NORMA-WINSTONE-FFwb2583_-WILLIAM-ELLIS.jpg Norma Winstone:: Musician MILES DAVIS: KIND OF BLUE “Well, it's Miles Davis “Kind of Blue”, I'm sure loads of people chose this one - I had to chose it because it had a profound effect on me. I don't know how many other albums I'd bought before then but I think the first one that I ever bought and I saved up for when I was at school was “Ella and Louis with the Oscar Peterson Trio.” And I was also very affected by Dave Brubeck’s quartet with Paul Desmond and I found that I was listening to the solos, I was learning the solos, I didn't realise they were improvised because Paul Desmond was so clear in the way he played and you could actually copy it. But, I think I joined a club and we saved up so much a week and then this guy would come round and he'd say 'Well this albums new ... and this ones new .. and I can order it for you' , and he said 'there's a new one by Miles Davis, John Coltrane “Kind of Blue” and I thought 'Oh have to have that!'". Norma Winstone: Midland Hotel, Manchester 26th July 2018 Image Courstesy of the Royal Northern College of Music One LP Series Miles Davis: "Kind of Blue" released 1959 Norma Winstone https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_k9de5t_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_ueqaj48a_bp60qx_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_ueqaj48a_rg9fkj_PATRICIA-ROUTLEDGE8696-c-William-Ellis.jpg Dame Patricia Routledge: Actor EDWARD ELGAR: DREAM OF GERONTIUSE "My very special choice is the Dream of Gerontius by Edward Elgar. A great work, a great choral work, and particularly I’ve chosen the performance recorded by Sir John Barbirolli, beloved of Manchester of course, and led the Halle for years, and with Dame Janet Baker as the angel, I wouldn’t have anyone else, although I did see and hear Kathleen Ferrier when she sang it in concert, with Richard Lewis who I thought was a great tenor, and Kym Borg. I love the record, it means a very great deal to me, and I have given it to people on significant occasions." Dame Patrica Routledge: Royal Northern College of Music, Manchester, 14th February, 2017 https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_92c3z7_ORBERT_DAVIS_wb__WELLIS.jpg Orbert Davis: Musician CLIFFORD BROWN: CLIFFORD BROWN WITH STRINGS Orbert Davis, co-founder and Artistic Director of Chicago Jazz Philharmonic. "This is Clifford Brown with strings, I was a teenager when I first heard this incredible album - the depth is in it's subtleties - and Clifford is so perfect with the string writing of Neal Hefti. It's a true blending of classical and jazz. The first thing I knew - this is funny – I recognised the name Neal Hefti from the Batman theme! For me as a trumpet player I study Clifford Brown - as an arranger I study Neal Hefti, so this brings both those worlds together - and it did so when I was back in high school when I discovered this recording- this is my One LP!" Orbert Davis: Symphony Centre, Buntrock Hall, Chicago. 15th May, 2013 Clifford Brown with Strings: arranged and conducted by Neal Hefti released 1955 Orbert Davis Chicago Jazz Philharmonic https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_txxuq3_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_ueqaj48a_4xbsjq_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_ueqaj48a_d046e4_PINO-PALADINO-OLPwb_-WILLIAM-ELLIS.jpg Pino Palladino: Musician VARIOUS: MOTOWN CHARTBUSTERS VOL. 3 "At this time I was probably about 15 or 16. And I was just really getting into music and when I heard 'Road Runner'. This track by Junior Walker on this album, just turned me around Just couldn't get enough of it, played it about a 100 times." WE: "And is that that make you think about the bass?" "Not really, I didn't even know what it was - I just love the feel of it. You know, the way that everything's working drums, bass, guitars, the sax - of course Junior Walker. I couldn't really break down what it was that I love, but I just loved it." Pino Palladino: Ronnie Scott's, London, 27th September 2011 Various: Motown Chartbusters Vol. 3 released 1969 Pino Palladino https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_pafrkm_RANDY-WESTOLPwb-WELLIS.jpg Randy Weston: Musician COLEMAN HAWKINS: BODY AND SOUL "So many - but I would have to say 'Body and Soul ' by Coleman Hawkins, when I was 13 years old. And I heard it, I got an allowance from my father I got 75 cents a week. I told him get me an advance .... I bought three copies of 'Body and Soul'. I hid two and played one out for the people in the streets to hear and it turned out the first time I heard Thelonious Monk was with Coleman Hawkins. And I was so happy in 1959 he recorded for me and he played my music. So if I picked one that would be it. And there's so many but I would pick that one." Randy Weston: Moss Theatre, Santa Monica, 21st October 2017 I understand that Mr Weston was referring to the 78rpm EP released in 1939. Coleman Hawkins: Body and Soul - recordings made between 1939 and 1956. https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_hugyfj_RICK-WAKEMAN2wb-c-WILLIAM-ELLIS-1.jpg Rick Wakeman: Musician SERGEI PROKOFIEV: PETER AND THE WOLF "It’s Prokofiev’s Peter and the Wolf – actually also on the album is Benjamin Britten’s The Young Person’s Guide to the Orchestra as well. When I was about 9 years old my father took me to see a performance of Peter and the Wolf. I just thought it was so magical because here’s somebody telling a story to music and I just was in raptures. It was the actual inspiration for me all my life to want do stories to music which is what I went on and did – Journey to the Centre of the Earth and King Arthur * and those kind of albums. It was purely thanks to that trip to see Peter and The Wolf. I always thought Prokofiev was a total and utter genius and fell in love with all his music from that day on. The interesting thing is this particular album has David Bowie narrating it – I mean I’ve got so many versions of different people narrating it, but because of my close relationship with David working with him, being a friend and he does it extraordinary well – he really does do it well. He has almost the perfect voice for doing it. To me he even beats Peter Ustinov’s version which was pretty sensational which I’ve got and some appalling versions like Barry Humphries! What’s interesting about this particular version with David Bowie is – as I said also on the record is Benjamin Britten’s Young Person’s Guide to The Orchestra – which I’ve narrated, I’ve done it with a couple of orchestras. But what’s really nice for me as well is I live in Norfolk only about 35 minutes from The Red House where Benjamin Britten was, so I visit there a lot. I know them all there incredibly well, in fact I’ve modelled my music room – outside in an old rebuilt carriage (store) – almost identical to Ben’s room – Benjamin Britten’s room. I’ve been lucky enough to meet some of his students and people who worked in choirs and things and that with him – that’s really nice. And so to have this particular album that has both the piece of music that probably inspired me to compose in later years, to have David Bowie doing the narration – such a great friend and having worked with him on so much stuff, and then as a bonus track having The Young Person’s Guide to the Orchestra, living so close (to Britten’s Red House) – and some of Britten’s choral work – great influence – to me it’s the perfect album." Rick Wakeman: Royal Northern College of Music, Manchester, 25th June, 2017 https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_6nsdok_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_ueqaj48a_6b9pay_ROD-YOUNGS_olpwb_-WILLIAM-ELLIS.jpg Rod Youngs: Musician MILES DAVIS: WATER BABIES “The album is entitled ‘Water Babies’ by Miles Davis, and the reason that album is special to me is it’s the first album I heard Tony Williams on – yeah – that I sort of hap hazardly discovered in my fathers record collection. That album just completely blew my mind. Blew my mind cos I didn’t, hadn’t, realised a drummer could be so ... express themselves the way he did. There was lots of imagery in his drumming and that was the first time that I actually heard a drummer playing like that – you know – conceptually playing like that – you know – colours, but time and you know – really using the entire kit as a – you know – all the textures." W "It was like a landscape almost" Rod "Yeah – absolutely – absolutely exactly – a landscape of different colours and textures and using the cymbals. But that particular record is definitely one that really changed my whole thinking in terms of drumming and what the possibilities are you know – so, yeah” Rod Youngs: Llandudno Jazz Festival, 26th July 2015 Miles Davis: Water Babies released November 1976. Recorded June 7, 13, 23, 1967 November 11–12, 1968 Rod Youngs https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_hdnz1p_ROGER_SADOWSKY_WB__William_Ellis.jpg Roger Sadowsky: Luthier GORDON LIGHTFOOT: LIGHTFOOT! "Well, the album I’ve chosen is the first Gordon Lightfoot album and the reason I chose that is I started playing guitar the spring of my junior year in College, so that would have been 1969. And the album that got me into playing guitar…was this album. This was the album that inspired me to want to play guitar and I attribute everything else I’ve done with my career to be a function of learning to play guitar and becoming obsessed with guitar. So I thought the most appropriate album was the album that got me into playing guitar to begin with." Roger Sadowsky: In his workshop, Long Island City, New York, 29th April, 2013 Gordon Lightfoot: Lightfoot! released 1966 Sadowsky Guitars https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_ikjkle_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_ueqaj48a_9utglc_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_ueqaj48a_fza6nb_SISTER-CAROL_wb_-WILLIAM-ELLIS.jpg Sister Carol SISTER CAROL: BLACK CINDERELLA “First of all blessed love and greetings William. Greetings to all the ones who are tuned in here and now and that will be tuning in later on. I am Sister Carol the original Roots Star out of Kingston Jamaica, yeah. And I brought here with me today my second album entitled “Black Cinderella” on the Jah Life record label. And this record means a lot to me because not only the song - my very first single that debuted me to the world, it's also the name of the album and it's also personifies who Sister Carol really is as a “Black Cinderalla,” The Goddess within this time, You know, and like I said its my record label 'Black Cinderella', my clothing line “Black Cinderella”, my production company “Black Cinderella” and I also have a sound system that I'm now playing called Cinderblack. This record it means a lot to me, you know, and I brought it here today to be a part of the One LP vibration because not only it’s a classic but it's really a true collectors item. And something that I'm really proud of and this was thirty five years ago and thirty five years later we can still look on it and say wow the work still stand up strong’, fresh, vibrant, full of message, full of vibes, same energy that transcend from that time to this time. So I give thanks, yeah - Black Cinderella.” Sister Carol: Orcho Rio, Jamaica, 18th February 2019 Sister Carol https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_oz2pwq_STEVE-CROCKERwb-c-WILLIAM-ELLIS.jpg Steve Crocker: Musican, jazz promoter CHARLES MINGUS: MINGUS AHUM “Well, it's Charlie Mingus’s “Mingus AhUm”. And it was what turned me on to Mingus. So I'm a bass player as well as being a jazz organiser and it's a classic bass players album you know all the tunes “Better Get it into Your Soul”, “Goodbye Pork Pie Hat”, Boogie Stop Shuffle”. "Fables of Faubus", "Pussy Cat Dues" they’re all classic Mingus arrangements and classic Mingus bass playing. I found it in Norwich Market when I was 17 - not bad eh? Yeah, been with me ever since and I play it all the time.” Steve Crocker: Leeds College of Music, 21st July 2019 Charles Mingus: "Mingus Ah Um" released 1959 Steve Crocker - Jazz Leeds https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_1bjda7_TERRI-LYNE-CARRINGTON-wb_-WILLIAM-ELLIS.jpg Terri Lyne Carrington: Musician WAYNE SHORTER: JUJU “There’s so many of course, I guess one that just came to my mind is “JuJu” by Wayne Shorter - there are so many amazing songs on that record .. on all of his records. But for the classic Wayne Shorter records, I love that one. And ‘Infant Eyes’ (on "Speak No Evil") for me, that’s one of the most beautiful songs ever written. Also love “Deluge” and “JuJu” and ”Twelve More Bars to Go”. All of them – it is such a strong collection of songs and the playing is just unbelievable. Wayne’s sound on “Infant Eyes” (on “Speak No Evil”) is so special. I mean it’s easy to fall in love with Wayne in all of his different incarnations, but the sound that he gets when he’s playing a song written for his daughter when she was very young or recently born… you can hear that in that melody. That album really captured an incredible moment in Wayne’s career, it’s just amazing.” Terri Lyne Carrington: Jazz Standard: New York City, 5th October 2018 Wayne Shorter: "JuJu" realeased 1965 Wayne Shorter: "Speak No Evil" released 1966 Terri Lyne Carrington https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_h34zek_THEO-BLECKMANNwb-c-WILLIAM-ELLIS.jpg Theo Bleckmann: Singer and composer KATE BUSH: HOUNDS OF LOVE “It’s very easy, actually - it's Kate Bush “Hounds of Love” which is really my favourite LP because it is conceived for for the LP format. It has two sides that are quite different. The second side - the B side has songs about all that water based on a Lord Tennyson poem. So I love the idea of really using a format like that like saying, ‘here's one thing’ and then on the other side, ‘there's another thing’. And of course, you know, I'm a big Kate Bush fan. I admire her writing. I admire her lyricism and her mysticism in her lyrics very, very much. I think this this is a sort of a breakthrough record in pop music in general because it also deals with layering of sonic space, also doing some ambient layering - Eberhard Weber is playing bass on this record and that should tell you something about what the sonic space is that in these songs. And it's a very iconic record because of where it was in my life in '85 - I graduate high school and so that record was sort of at the at the cusp of becoming a musician/artist coming from childhood. So it's a very important record to me that way I think musically It is so esoteric and weird - that as a pop record at the time, I don't know if it was received in a way that it that other records that other pop records can be received because it has so much content - and so much weird content weird - I mean, in a good way, yeah - and not understandable on first, second, third or fourth listening. And it was only when I took on Kate Bush’ repertoire for my project in which I sort of took her on as a composer and rearranged and reshuffled her music for a jazz ensemble - for a small jazz band, that I understood some of the songs. I mean, “There's a Dream of Sheep” is one of the songs it's a very beautiful, almost lullaby kind of song and I wasat offices a lovely little, littlelullaby, but it actually is a song From the perspective of somebody who is drowning or dying in a shipwreck, or in a plane crash in the ocean, and wanting to be saved, and praying or hoping to not fall asleep, that's an incredible metaphor for life, you know, to not fall asleep and drown, but to just stay awake. And I didn't understand that as you know an 18 year old ago, ‘this is a pretty song’. So the depth and the scope of her work only became apparent or only became really clear to me when I delve into it as an arranger as an interpreter, not as a listener only. So that's why I wanted to choose this record.” Theo Bleckmann: Moss Theatre, Santa Monica CA, 20th October 2019 Kate Bush: :Hounds of Love" - released 1985 Theo Bleckmann https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_hjk4wy_VINNIE_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? What are you going to share with us and 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 [inaudible] but the songs. I was fascinated at how he achieved the tones and sounds and effects that he did and which led me to investigate the guitar itself. I realise 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 by him. 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 https://storage.neonsky.app/651h4emo/images/651h4emo_ueqaj48a_nxubdx_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_ueqaj48a_ielptj_Victor_Brox_w1LP__WEllis.jpg Victor Brox 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://onelp.com/education-exhibitions 2026-04-06 monthly 0.8 https://onelp.com/one-lpscarborough-jf15 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_2yv69x_ALAN-ROSSwb_WELLIS.jpg Alan Ross: Proprietor Jazz House Records OLIVER NELSON: THE BLUES AND THE ABSTRACT TRUTH "It's Oliver Nelson’s 'Blues And The Abstract Truth’. I love it mainly because the music is so wonderful but also because they take the two basic elements of Jazz which is the blues - and I got rhythm, and Nelson's writing is so magnificent it kind of transforms these very basic forms and the quality of the musicians he employs on there - Freddie Hubbard, Eric Dolphy, Bill Evans - they're just so superb they bring to the music a life and a vigour that's life affirming and really rather wonderful." Alan Ross: The Spa Scarborough, 27th September 2015 Olive Nelson: The Blues and the Abstract Truth released 1961 Jazz House Records, Leicester https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_2lh40m_ALEX-WEBBwb_WELLIS.jpg Alex Webb: Musician CHARLIE PARKER: CHARKER PARKER ON DIAL "Well, it's Charlie Parker on Dial and it's a particular Spotlite LP of those classic Dial records with, you know, 'Embraceable You' ... 'Scrapple from the Apple' and those immortal bebop things. And the point is that I actually remember going into a listening booth in a Hemel Hempstead record shop and hearing this stuff for the first time - back in the fourteenth century..... I wouldn't say I understood it or even enjoyed it - but I knew I'd just stumbled into Aladdins cave. I knew there was something there and I went and I bought a Charlie Parker LP on spec and I listened to it until it made sense, and that music has stayed with me and inspired with me ever since." Alex Webb: The Spa, Scarborough, 26th September 2015 Charlie Parker: Charlie Parker on Dial released 1970 Spotlite Records Alex Webb https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_kz6562_CHRIS-CHEEKwb_WELLIS.jpg Chris Cheek: Musician CANNONBALL ADDERLEY: THINGS ARE GETTING BETTER “It's a Cannonball Adderley record called 'Things Are Getting Better'. And I guess the reason it's so special was I had been taking lessons when I was in High School with a friend of my band director who was a saxophone player who had just moved back from New York. And he had an amazing record collection and he would loan me records to listen to each week, but that record was like the first jazz record I bought literally and I ordered it through the mail and I was just so excited and I just remember like waiting for days - and it seemed like months before it came but I remember we were sitting down at dinner and the bell in the door rang and I knew it was the delivery of the record and I remember just jumping up from the table and going and getting it and just - I don't know something about the act of opening the package and holding you know - it was like one of my first records you know that was mine. And there's a picture of him and you know he's holding the horn out in front of him and so the horn looks huge. And it's just a great record you know and I listened to it every day for months you know and yeah - just loved it.” Chris Cheek: The Spa Scarborough 27th September 2015 Cannonball Adderley: Things Are Getting Better released 1958 Chris Cheek https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_dch3hs_BARRY-GREENwb_WELLIS.jpg Barry Green: Musician HERBIE HANCOCK: MY POINT OF VIEW “Herbie Hancock's ' My Point Of View', which was his second album as a leader. He was only 23 when he made it and one of the things I like about it is you're able to hear Herbie sort of right at the beginning of his career just as he started playing with Miles - and how exciting that is. There's everything, well everything is pretty fully formed for him. It's also a great example because he, in his first album and in his second album, didn't play any standards - which I love playing- he just played original music which, I think, he was encouraged to do by Blue Note. They could have just got him to record an album of standards but instead they encouraged him to do some of his original music, and that's one of the reasons why it's such a classic album. Also, like his first album, he had players of different generations on there. So Hank Mobley's on this album, like Dexter Gordon was on his first album. And also it's got a very , sort of, wierd rhythm section that works but with Chick Israels and Tony Williams who, I don't think, ever played together in any other scenario, it sounds great. Anyway it's one of my favourite records - one of the first records I ever got.” Barry Green, The Spa, Scarborough, 27th September 2015 Herbie Hancock: 'My Point Of View' released 1963 Barry Green https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_dtjk07_CIYO-BROWNwb.jpg Ciyo Brown: Musician STEVIE WONDER: SONGS IN THE KEY OF LIFE When you first mentioned it I thought 'Oh my gosh' after all the many years of listening to music it's a real struggle to like pick one album out. And my top two was Stevie Wonder's 'Songs In The Key Of Life' and George Benson's 'Weekend In LA' - and I'm a massive George Benson fan, and 'Song's In The Key Of Life' - I think it would be that album Stevie Wonder's 'Song's In The Key Of Life', Motown 1976. It's just an absolutely amazing album. What I love about it is thematically, musically and also in terms of the lyrics and the themes - just amazing. I think the story behind in terms of - from what I've read - when Stevie approached Mr Gordy and said 'Look, I want to do this album..dah..dah..dah.. ' and he wasn't sure about it - which is natural when you think about the commercial, the economics ....... he said 'alright give it a go'. Went over budget but he decided that he would go with it and he hasn't looked back since, you know. That album is a ground breaking album and it's had a major impact on me in so many different ways. The social messages from it - the social conscience messages, the humongous skill levels, in terms of the musicians - just amazing - the whole concept - fantastic, absolutely, yeah. So that would be the worlds greatest album for me." Ciyo Brown: The Spa, Scarborough, 26th September 2015 Stevie Wonder: Songs In the Key of Life released 1976 Ciyo Brown https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_jsijua_DARIUS-BRUBECK_WELLISwb.jpg Darius Brubeck: Musician ERIC DOLPHY: OUT THERE "Well actually when you introduced the project, I thought - 'I could really work at this - and that would be too much of a challenge!' Or I could just go with what popped into my head, and a very interesting one did. It's 'Out There' by Eric Dolphy. And the reason I think it was a very influential album for me was the instrumentation really. The unusual sonority of cello, bass, bass clarinet - when he played bass clarinet or flute, when he played flute and a little bit of alto but, you know, the changing around - and the cello. So no chord playing instruments as such but just the way those instruments resonated with each other and the way of playing in the kind of post BeBop style - but nothing very formal . You now when I talk about the instruments you might think of it as sounding more like one of the more formally arranged West Coast jazz things that were kind of in that third stream pocket or something - but it wasn't at all. It was actually very New York, it was a bit odd, a bit scratchy - Ron Carter on cello - playing and so forth. But it had tremendous time and feel and it created a sound Universe for me beyond what I thought of as the instrumentarium - the sound universe of straight ahead jazz and yet it didn't sound like a classical cross over kind of thing - like the things that you know - my father was doing with Leonard Bernstein or even Gunther Schuller. It was its own space. 'Out There' really influenced me to try and find those spaces myself." Darius Brubeck: The Spa, Scarborough, 27th September 2015 Eric Dolphy: Out There released 1960 Darius Brubeck https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_ahv3nv_DENYS-BAPTISTEwb_WELLIS.jpg Denys Baptiste: Musician COURTNEY PINE: JOURNEY TO THE URGE WITHIN "Ok, I've thought long and hard about this and I thought to myself actually it would be Courtney Pine's 'Journey to the Urge Within', which was his first album that came out when I was at school. I'd been dabbling with a little bit of jazz at the time, I hadn't really had any idea about being a jazz musician and I think on hearing that album and hearing him playing that music live was the thing that kind of inspired me. The thought 'You know actually I could do that too'. So it holds a very special place in my heart as an album that kind of made me make the difference between deciding to be an engineer or being a musician." Denys Baptiste: The Spa Scarborough, 26th September 2015 Courtney Pine: Journey To The Urge Within released 1986 Denys Baptiste https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_neie74_HANNA-LUTKINwb_WILLIAM-ELLIS.jpg Hannah Lutkin: Production Manager LOUIS ARMSTRONG: MUSIC FOR THE MILLIONS "Well mine is a Louis Armstrong tape that I got from the charity shop just as I kind of started getting into jazz and doing the festivals. I picked it up for about 20p I think and my car still has a tape player in it so I get to make the most of all these bargains. And it's probably about 10 years ago now and this tape has stayed with us and played and played. Me and my husband used to play it a lot together and now we listen to it with our children now all the time. And I think we did a journey the other week that was three hours and we listened to it straight the whole way - just all the way round and they never asked to take it off - so it was great!" Hannah Lutkin: The Spa, Scarborough, 27th September 2015 Louis Armstrong: Music For The MIllions Louis Armstrong https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_1d1o9s_JEAN-TOUSSAINTwb_WELLIS.jpg Jean Toussaint: Musician JOHN COLTRANE: LIVE AT THE VILLAGE VANGUARD 1961 "It's Coltrane - 'Live at the Village Vanguard' - the one from '61. And, you know, it's special because when it came out I think he was constantly blowing everybody's mind but when he brought this out he blew everybody's mind! And you know - and their mother and father and grandmother, you know (laughs). He just rewrote the whole thing - playing the saxophone like that and leading the band like that was never done until that record. That was the template for like hot modern jazz from the 60's, you know, and up until now. It's for me that's the height of the music you know and nobody has gotten that kind of playing to that level as yet, in my opinion you know. that's just - it's all - you know - it's one persons opinion - so a lot of people might disagree you know. So, but that's it - that's why. And it's what he's doing with the blues - what he's doing with the modal thing that he got from Miles - it's where he was taking it. He was taking it elsewhere you know. He was just going into all the different places that we who followed is attempting to continue and develop and go into there, you know, but him, Elvin, Jimmy Garrison and McCoy Tyner they were doing that in 1961 you know. They started that ball rollin' for me, you know, and that's why I love it." Jean Toussaint, The Spa. Scarborough, 26th September 2015 John Coltrane: Coltrane "Live" at the Village Vanguard released 1962 Jean Toussaint https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_7jli4e_MARIAN-GORDONwb_WILLIAM-ELLIS.jpg Marian Gordon: PA to the Director - Scarborough JF MORE FOUR FRESHMEN AND FIVE TROMBONES "I bought this LP when I was a student in London, so that would be in the late 60's. And when I went to college I took my record player and my vinyl and it played loud all down the corridor and all my mates at college thought it was the most awful stuff they'd ever heard in their entire life - but I've always loved close harmony singing and that's what this record is all about. It's four wonderful male voices and five trombones and nothing else at all. And for me it was the beginning of enjoying jazz and I still love it." Marian Gordon: The Spa, Scarborough, 27th September 2015 Scarborough Jazz Festival https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_2lvk9b_MILES-DANSOwb_WELLIS.jpg Miles Danso: Musician RED GARLAND: PIANO WE - “Miles - so kind of you - to come up with an album.” MD - “It's a pleasure. It's a great idea what you're doing. My dad would be like - over the moon - 'cos without like his record collection I wouldn't be standing here right no - so - that's how that continues through. It's Red Garland's 'Piano' which is a trio album from Red Garland - that's also very very classic album. I love Red Garland cos it's like music to make love to, it's not music to intellectualize about - it's really groovy. and there's another album called 'Groovy' and there's another album called 'Reds Good Groove'. that's - he was - that's why Miles Davis hired him. So like if you know the Miles Davis Quintet in mid 50's 'Working, 'Steaming', 'Relaxing' - it's the same rhythm section. Paul Chambers, my favorite bass player, Art Taylor one of my favorite drummers and Red Garland for sure one of my favorite pianists and the trio is unbelievable. And the other story about that is they recorded at Rudy Van Gelder's house in Hackensack New Jersey and so now if you look at what Rudy did is that you've got like - 'Working, Steaming, Relaxing' and the trio - it's the same band minus the horn players. So they'd finish a gig upstate New York, Miles would have some pretty young thing on his arm.. he's drive back to New York.. - yeah and he'd be like 'I'll see you at 12 at Hackensack' - and the other guys - the rhythm section would just go straight to Hackensack pick up some booze and things, some food - and then Rudy Van Gelder had camp beds. You know those old army camp beds.. canvas? He had those out and a primer stove and Red Garland used to cook the guys food in the studio right. Drink some whiskey and then about 4 - 5 - 6 in the morning the guys would start playing and Van Gelder would be like 'Oh man I've got to go to bed we've got a session at 11 o'clock - so look record and play and when the tape runs out don't worry about it - just put a new one on right?' That's how those albums were recorded. So when you listen to those albums it's late night guys who've already had done a good night's work - this is for them and it really comes across. That's why I love those albums." Miles Danso: The Spa Scarborough, 26th September 2015 Red Garland: Piano released 1957 Miles Danso https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_zdmpvi_SHANEY-FORBESwb_WELLS.jpg Shane Forbes: Musician MILES DAVIS: MILES SMILES "As a youngster this was one of the first records I heard that got me seriously into jazz music. At the time it was mainly because of the groovy inventiveness on the tracks 'Footprints' and 'Freedom Jazz Dance.' As I grew older more other elements of the whole album captivated me and it continues to right up to today. In every listen I hear something new. Like all of the '60s Miles Quintet albums this one is full of creativity, risks and innovative spontaneous composition/improvisation techniques. Not too long ago I heard some of the alternate takes and the band rehearsing on the session for this album. You really get to truly hear masters at work." Shane Forbes: The Spa, Scarborough, 26th September 2015 Miles Davis: Miles Smiles released 1967 Shane Forbes https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_iz70qd_SUE-RICHARDSONwb_WELLIS.jpg Sue Richardson: Musician GERRY MULLIGAN: THE ORIGINAL QT WITH CHET BAKER “It's the Gerry Milligan and Chet Baker album. The very first one they made together in the early 1950's - it was the album that made Chet Baker the star - put him on the map. And I love it because it was really unusual. Gerry Mulligan was the ideas guy, was doing lots of arranging. He'd just been working with Miles Davis. And he didn't have a piano in his band so there was nothing in the rhythm section apart from bass and drums and then he was playing baritone sax and Chet was playing trumpet. Chet didn't really read music - he wasn't a theorist - but somehow they just instinctively just worked together. So things like Bernie's Tune and there's that solo and they were all just weaving in and out together. It's - ahh- its sublime and so, yeah, it's the thing that really does it for me. Makes me feel like a bit of a dinosaur - cos - oh I love 1950's music. But it's - yeah - it's what does it for me. It's laid back, it's quiet, it's not in your face. It's just beautiful.” Sue Richardson: The Spa Scarborough 26th September 2015 Gerry Mulligan: The Original Quartet With Chet Baker released 1998 Sue Richardson https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_q3ad4y_TONY-KOFIwb_WELLIS.jpg Tony Kofi: Musician THELONIOUS MONK: BRILLIANT CORNERS "Brilliant Corners' by Thelonious Monk. Why this album is so special for me is because when I first heard it - it sounded all wrong but it pricked my conscience you know. The actual tune 'Brilliant Corners' - I didn't understand it because it wasn't even and symmetrical like most standards are - or most compositions are. Very quirky and the strongest link all his compositions was the melodies you know; the strong sense of melody and time - and the feel - and dissonance. So, that was the album for me and that really got me into jazz and made me.... kind of like think.... this is what I want to be when I grow up." WE So, it's through the intrigue of the album almost? TK Yes yes - absolute intrigue. 100% total intrigue. When I first heard it I didn't like it but then when I investigated I realised that it challenged me and so I went for that challenge and start learning about Monk and studying Monk. So it was total intrigue, you know sometimes the thing that intrigues you most is the thing that grabs you, you know, the most - so Brilliant Corners is one." Tony Kofi: The Spa, Scarborough, 26th September 2015 Theloniuos Monk: Brilliant Corners released 1957 Tony Kofi https://storage.neonsky.app/651h4emo/images/651h4emo_2vdne33x_30hr0q_WINSTON-ROLLINSwb_WELLIS.jpg Winston Rollins: Musician GEORGE DUKE: A BRAZILIAN LOVE AFFAIR "Well the album is George Duke 'A Brazilian Love Affair'. Now this album, it was amazing album when this was first released because if changed my perspective of everything. It's a Latin based Brazilian style album and it just opened my eyes to that sort of music. The musicianship on that album is amazing and listening to trombone players like Frank Rosolino, J.J. Johnson, Carl Fontana. I was introduced to a trombone player called Roul De Souza, who played the valve trombone and it was the first time I've really heard the valve trombone and the solo was amazing - on the track - but the whole album was inspiring and that's all I can say." Winston Rollins: The Spa, Scarborough 26th September 2015 George Duke: A Brazilian Love Affair released 1979 Winston Rollins https://onelp.com/one-lpdocumenting-jazz2020 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_3xn8ip_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_pblxsfdq_ww9lwy_Anita_Wardelw__WEllis.jpg Anita Wardell: Musician ABBEY LINCOLN: IT'S MAGIC "It is so special because, as many people know, that Abbey Lincoln passed away earlier this year [August 2010] and I have always been really inspired by her. From a very early age, she was one of the – you know, after Ella Fitzgerald – she was the next person I really got into. So I am a massive fan of her and I’ve got all her albums. The reason I chose this is because I think this is one of the lesser-known ones but there’s beautiful tracks on here and the one that I really love is “Exactly Like You” because I listened to another version of this by Carmen McRae, which I love, and when I heard this version I loved this equally. You know, it’s the way her sentiment, the way she gets the lyrics across, are so different to a lot of other singers. She is very deep when she sings and you can really hear a lot of emotion. Not in the same way that you can with Billie Holiday but you know it’s coming from a real spiritual sort of place, when she plays and that’s why I love her." Anita Wardell: The Spa, Scarborough, 26th September 2010 Abbey Lincoln: It's Magic - released 1958 Anita Wardell https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_a3ss48_ANNIE-ROSSwb2_-WELLIS.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 released 1958 Annie Ross https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_ufmu0f_BENNIE-MAUPING_wb_WELLIS.jpg Bennie Maupin: Musician ERIC DOLPHY: OUT TO LUNCH! "My One LP - yes, it’s the Eric Dolphy album he did on Blue Note called Out to Lunch!And the album has Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams. And it is such a phenomenal shift from anything that had been done on Blue Note Records. The compositions and the playing and the quality from Blue Note was always good because of Rudy Van Gelder. And he captured this in such a wonderful way. It just resonated with me, you know? It’s one of those things you want to listen to over and over. And that’s why itbecame one of my favourites. There are many things that I’ve heard but I don’t think anything I’ve heard resonated with me the way Eric’s music did on this particular recording. He seems to have been at a very fine peak in his development and this really made me want to go and be better. Eric Dolphy." Bennie Maupin: Hollywood CA, 11th April 2014 Eric Dolphy: Out To Lunch! released 1964 Bennie Maupin https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_0y2wja_BENNY-GOLSONwb_WILLIAM-ELLIS.jpg Benny Golson: Musician Dizzy Gillespie and Dexter Gordon: Blue 'N' Boogie "Well - I've been around for a long time, and during the time when I got started there were no such things as albums so there were no covers! Cause there was a time of the 78 recording with 3 minute at tops for each recording, so whatever the person was going to present they had to present it within the 3 minute framework. Sometimes you didn't get the bridge of the song and they went out and things like that so they had to gear it for the 3 minutes and that's what I grew up with when I started that's what was going and later the 33 1/3 records came into existence - and they weren't 12 inch LPs they were10 inch LPs! And then later the 12 inch LPs came, yeah. And then later the albums came with the album covers at was much later though - it wasn't in the beginning! I had many heroes in the beginning, my first one was probably Coleman Hawkins and then Don Byas, Ben Webster, Lucky Thompson but then one that really got me down the line was a fella named Dexter Gordon. And he made a recording with Dizzy Gillespie and when I heard that my life changed again - it changed when I first heard the saxophone but when I heard that recording Dizzy Gillespie and Dexter Gordon it opened up something else for me cos his style was different from Coleman Hawkins and Don Byas and Ben Webster, it was another sound - even different from Lester Young. Like I said it opened my ears up when I heard that and I started trying to do other things because at that time I didn't have my own interpretation or concept - like money in the bank to reach in and do what you want to do, I had nothing in to reach in to get. So I was eclectic, imitating everyone - piano players, guitar players trying to understand what this thing called jazz is all about.Especially improvisation cos that's what jazz is all about. Nobody comes to hear the melody over and over again - after the first run of the melody they want to know what you've got on your mind musically! And you have to have something to say: you should have - and it takes a while to get to that point. Dexter had something to say in a little different way than the others, and to me, at that time - it's a long time ago - it was pretty hip, pretty hip. And from there you continue keep reaching - reaching then eventually you develop your own sound - whatever that is, and even when you develop your own sound and after a while maybe you even want to modify your own sound maybe wanna hear something else. Then you go through periods like Picasso did you know, like Cezanne came in: with the Cubism - then he went to pointillism and he went through many things. I saw some of the things that he did he did as a student and the anatomy was almost like a photograph - and then later he had one eye up here and one below and the nose over on the side and you maybe ths guy doesn't know anything about anatomy - he did - but he had a different perception as time went on. He went to pointillism which looked like little vertical scratches - I mean incredible what he did! And musically that's what we sort of do as we continue to reach. We think - while we're striving 'at this point' - whatever this point is, 'I'll be satisfied.' But when we get to that point somehow we're not satisfied - we're always striving to best ourselves - to get better at what we do, and to understand our selves better. Because what jazz is all about is improvisation and when you improvise you're bringing into existence things that had no prior existence - it didn't exist. Whether it's 2 notes or whether it's a whole series of notes - your playing them that particular way did not exist. So you have to have - imagination. If you are going to create something that had no prior existence you have to imagine things - because they don't exist! And that's like an adventure I fancy it's like a big game hunting like a safari but we're only we're not hunting live game - we're hunting new concepts - new ways of doing the old things, new ways of expressing yourself. These extrapolations sometimes are just as important as the new discoveries, because you're bringing new life to it and you're presenting it in another way, Dizzy Gillespie during that time when he was coming up, that's what he was doing - he took the old tunes like 'Whisperin' and putting another melody on the chords and calling it 'Groovin' High'. Tadd Dameron took 'What Is This Thing Called Love' put another melody on the chords and called it 'Hothouse'. So this is an exciting time - 'Ornithology' was 'How High The Moon' and then it went on from that to total different concepts, different titles and different melodies. In the beginning we used the old structures 'What Is This Thing Called Love?', 'Whispering' as time went on we did away with those and came up with our own concepts, that's how I came up with 'Whispering' - 'Stabemates' and whatnot. It wasn't 'What is Thing called Love?' any more - It was something entirely different, but we had to graduate to that point because we were going into areas that didn't exist - and we were like the pioneers goin’ into - opening doors along the corridor to see what's behind these doors. It was like an adventure everyday, couldn't wait to wake up to try again. What can I do today better than I did yesterday? Where am I going? You ask yourself all those questions - what is it I want ? What am I trying to achieve? And sometimes we didn't even know that. Everything was so new - so all those early days were like an adventure. And still today - I'm an old guy today - but I've still have my ears open and I still think there are things I would like to that I haven't done yet even in my old age you know And it's still has that sense of adventure to it - yeah. It's creating things - improvising - what you're doing on an instrument or pen on paper - which is a form of improvising. It's exciting and it's adventurous and I think I'm still a part of that because it still awakens certain things within me creatively and I don't want that to die - I don't want to lose that - if I lose that I might as well get a job as a wash room attendant or selling groceries. Yeah - I love this music called Jazz. And as Sonny Rollins said "There's no end to it." Nobody says - 'well I'm at the end of it and I don't need to study any more - I know all there is to know.' There is no such thing -and no one person knows everything,so we keep going ahead. Some of it's good, sometimes some of it's bad - stinko, and we reject it start over again but it's a great thing trying to arrive at these things. Oh yeah - and when you achieve it - oh it's like giving birth all over again, we wait in that maternity room and wait for the slap on the butt - it's alive! Yeah - it's an adventure of sorts - yeah - and I'm committed, I really am, and I guess like Sonny Rollins said "There's no end to it." They ask me a lot of times - "Mr.Golson - what is the favourite tune that you have written." And my answer's always the same "I haven't written it yet." There's always something to do." Benny Golson: The Royal Conservatoire of Scotland, Glasgow, 17th September 2015 Mr Golson cited a recording of Dizzy Gillespie with Dexter Gordon, I deduced Watson that it's Blue 'N' Boogie. The Dizzy Gillespie Sextet with Dexter Gordon released 1945 Benny Golson Special thanks to Tommy Smith for kindly arranging the session. https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_idi20a_BILL-LAURANCEwb_-WILLIAM-ELLIS-copy.jpg Bill Laurance: Musician HERBIE HANCOCK: SUNSHINE “So my album of choice - it's a tough one - always a tough one! But if it has to be one then it would be an album called 'Sunlight' by Herbie Hancock which I first heard when I was 13 years old, on the way to Italy actually. I was in a car and I'd just bought this record on CD and I put it in my little CD player and I remember being sat next to my dad listening to it on my headphones and it was just a kind of epiphany. I felt like I was finally hearing a sound that I'd kind of always been looking for almost. There's something about this album, it basically bridges the gap between instrumental groove and improvisation and then full symphonic classical arrangements and orchestrations. So it's kind of bridging the gap of these two worlds in the most eloquent and groovy and original way I'd ever heard, you know. And so, yeah, it was kind of like a very significant moment of inspiration. I felt like this was my kind of template for a sound when I was like 13...14. It's something I've, ever since, been striving to kind of recreate my own version of (laughs). WE And were you playing at the time Bill'? were you playing keyboards then already? “¥eah, yes. I'd pretty much been writing since I was really young and trying to find a sound that kind of satisfied me but I was always, you know, trying to categorize myself whether I was like .. jazz - whether I was making a jazz album or a pop album or, you know, an electronic album. And hearing this kind of made me realize that actually you know you can have all these genres together, they can work side by side and actually that's really exciting when they do you know. Actually rather than thinking - categorizing yourself is a constructive thing - I think it can actually be limiting, you know... to kind of disregard genre as such and just sort of embrace all the music that I've come to love anyway is what I've started to do and I feel like this album was the initial inspiration of that. The other thing is, just the visual, the kind of artwork itself is just legendary because it's just him and his kind of, you know, 70's attire with a gold chain and looking like really for disco times with his sort of semi Afro on the cover and then on the back you have this kind of laboratory of keyboards. I remember just seeing it and just like. looking like the end of the rainbow for me.. just all these incredible analogue synthesizers and a Clavinet and just.. I just think it's such a cool way of kind of identifying where all these sounds came from and it's just him in the middle of this little kind of keyboard laboratory ... yeah great stuff.” Bill Laurance: Band on the Wall, Manchester, 8th March 2016 Herbie Hancock: Sunshine released 1978 Bill Laurance https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_9mbvl9_BOB-KOESTER1w_-William-Ellis.jpg Bob Koester: Founder Delmark Records JUNIOR WELLS: HOODOO MAN BLUES Bob Koester talks about Hoodoo Man Blues, his life in music, the ins and outs of running the longest established independent American jazz and blues label. BK: That’s paradise. It’s freezing. We had a lot of snow a couple of days ago. WE: I was here actually. I got in on Sunday night from Los Angeles… BK: Oh I see. So you saw a little bit. WE: ..and it was chucking it down when I landed. BK: Maybe the last of the year [knocking sound]. That’s not wood though, that’s plastic, so that doesn’t count. WE: That’s wood. BK: Good to have a wood desk, that’s true. WE: I love all these as well. These are amazing. (rare 78s) BK: That’s a bunch of stuff we just bought. We keep them naked until a couple of regular customers see it so they know that there are new arrivals. WE: To check the condition. BK: Sure. WE: How long has this shop been here, Bob? BK: I’ve been here for 10 years. I was upstairs for 5 years. I was a block and a half away from 1962 and I have been in the business 61 years. WE: Wow. BK: I started in St Louis. Actually a little before I had a shop, I sold records out of my dormitory room at St Louis University for a year, mostly by mail. And then we opened a store, me and a friend. My friend collected Ellington and Billie Holliday and didn’t like any other jazz. He liked sweet bands so we only had to fight over two artists’ records. WE: Which jazz do you prefer, Bob? BK: Well, I like everything from early New Orleans jazz up through swing. Bebop I can understand now. The avant-garde, I record a lot of avant-garde on Delmark but it’s not my favourite music and I can’t say I understand it all but jazz changes over the years. As it goes from place to place it changes. Even in the traditional jazz era there was Chicago style, New Orleans style. Almost every major city had its own style of trad. I call it trad, I don’t like the word Dixieland. It’s basically…it’s seems vaguely racist somehow, I don’t know. Maybe a putdown, you know. But the south has done a better job of recovering from segregation than some major cities in the north so Dixie is not so bad maybe anymore. The record you have photographed – Hoodoo Man Blues by Junior Wells – was, well, I started recording blues back in St Louis in early ‘60s and we’re best known as a blues label. We have a little over 500 titles in our catalogue and a little less than half of them are blues – around 225 blues records. Bunch of trad. Bunch of modern. A few big band records. Quite a bit of avant-garde lately. The Hoodoo Man Blues was the first time a Chicago Blues Band went in the studio to make an LP, to not be confined to 2 minutes and 45 seconds or 3 minutes and 45 and I didn’t even realise that until about 20 years ago that we had a first, I have to say, Chicago working blues band because Muddy Waters did a few LPs with studio groups prior to that. There might have been some others that I can’t think of right now. It has been a major seller for Delmark. It won a Grammy as a classic blues record. Memphis Blues Organisation gave it an award. Quite a lot of good reviews. Sold…I don’t really know I think we’re approaching a third of a million, maybe half a million since 1965. That’s 40, almost 50 years. More than 50 years. Like the year before last, we sold 2000 LPs and 4000 CDs but that was a little more than usual. Usually, it’s 4 and a half, or 5 thousand but that year we did an expanded CD version of it, and raised the price a little bit. That’s about all I can say is that I can’t take much credit for how good it is because I just watched while Junior Wells produced it. It’s got Buddy Guy on it, by the way, who was Junior’s guitar player at the time although he had made records on his own. But that’s not unusual for sidemen in bands to have records on their own. And the story I sometime like to tell is Buddy didn’t wanted to ruin a little relationship he had with Leonard Chess at Chess Records so he said “maybe I should call Chess and see if it’s ok for him to be on the record”. Chess said [imitates voice] “OK. But he does his thing and you don’t use his motherfucking name” or maybe “the motherfucker better sing but don’t use his name”. So the first 7000 copies which covers the first 4 or 5 years, he is referred to… Well, there was a British chap working for me. A British guy, I should say, working for me. And I said, “what’s a good pseudonym for Buddy Guy?”. I thought I’d let him come up with a pseudonym and he said [British accent] “Well, a buddy is a friend and a guy is a chap so why don’t you call him Friendly Chap”, which we did. His name was Peter Brown. He later put out some reissued records in Englend, when he went back to England. Worked for me for a year or two, I think. Good man. Really good man. In fact, we had three Brits in a row, one of whom was somehow in the royalty. They had some deal over here where they didn’t have to pay income tax for a year and they took full advantage of that. Wait a minute, was there another one? Yes. Another guy. Man, I had a stroke 8 years ago and I fucked up my memory. He’s an active musician in New Orleans. Oh no, he’s from Sweden! But we’ve had several guys from other countries work here. So Junior was not as well-known then. He was known to blues collectors but in 1965 most of the interest in blues was in country blues. It started in New York where they didn’t have very many blues artists. They had Brownie McGhee and Sonny Terry. They had Lead Belly until he died. They had Reverend [Gary] Davis, who was a street-singing gospeller, and they had Champion Jack Dupree, a piano player, and that was about the whole blues scene they had there. Brownie McGhee and Sonny Terry dominated and most of the criticism and most of the writing about music did not pay much attention to blues. A few enlightened, mostly traditional jazz people, were into blues and people like Hugues Panassié were into blues in the late ‘30s and between Panassié and the British just about everybody I recorded, and anybody you can name, went to England. Chris Barber had a lot to do with that. He would take a blues artist and tour him in England for a month and several of the guys he pulled over there, piano players, Jack Dupree and Eddie Boyd and I can’t think who else right now but several of them moved to Europe. They couldn’t move to England because it’s very hard for musicians to move there from any other country but Chris deserves a lot of credit for that blues revival. He was bringing blues artists over, I think, just about as soon as he split from the guy whose band he was with. I forget the other guy’s name, but he was a member of the band and the whole band pulled away. Anyway, there was this relationship between traditional jazz bands and blues and it gradually built up. In the early ‘60s, there was a big rock thing here. I’m sorry, not rock, folk music and Peter Seeger had all kinds of groups, some of them pretty terrible. Groups of more than two people tended to be pretty showbizzy but that developed an interest in blues on the part of a lot of young Americans. They could go from Peter Seeger to Brownie McGhee to Big Bill Broonzy and once it got to Broonzy they were in the Chicago thing because he was the king of the Chicago blues back in the ‘30s and ‘40s. Then pretty soon, it was like Muddy Waters. Well, Muddy would bring his band to gigs and well, we don’t want the band we want just Buddy and a harmonica player, you know, but they got the band and until Dylan used a blues band in one of his appearances at Newport and they put him down for that. It was a white blues band, the Paul Butterfield Band with Mike Bloomfield. They put him down for that. It’s sort of interesting when Muddy Waters first went to Europe the Europeans hadn’t quite got into the city blues bands to the extent that they did pretty quickly. But Muddy went to Europe and he played acoustic guitar. He didn’t like it but that’s what they wanted. Then the next year he went over and he had a nice acoustic guitar instead of borrowing one which he did the first time and they said “Where’s the band?”. They had changed that much in one year. WE: I guess it’s kind of the whole, like the Yardbirds, John Mayall, the British bands. BK: All that came out of…the Beatles started…Well, there’s a thing. Chris Barber in between sets would switch from trombone to bass. The drummer would switch to washboard and the guitar player, who had a major hit here and you know his name better than I do because I can’t recall it, would play guitar and they would do blues and call it skiffle. And as you probably already know, the Beatles began as a skiffle band, influenced by Chris Barber. Chris would do that between sets at gigs and concerts and then he would bring on the blues artists and then they would play with the blues artists. Chris had a hit over here and doesn’t play trombone on it, he plays bass. And I can’t exactly remember his name now. Very embarrassed, because he had a bigger hit. Bob Koester: Jazz Record Mart, Chicago, April 2014 Junior Wells: Hoodoo Man Blues, released 1965 Junior Wellls performs Hoodoo Man Blues Bob Koester: Founder and record producer, Delmark Jazz Record Mart - the world's largest jazz and blues record store. https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_6ulv9k_BUSTER_WILLIAMS_WB__William_Ellis.jpg Buster Williams: Musician BENNIE MAUPIN: THE JEWEL IN THE LOTUS "This album is special because of one thing - the time. This is during the time that Bennie Maupin and I were with Herbie Hancock and his Sextet and the music was evolving nightly and so when we did this CD – in those days it wasn’t a CD, it was an album, an LP – with Bennie who we finally called Mwile. That’s his Swahili name. Mwile. The music was an expression of the daringness that was happening in our lives and the way the music was controlling us rather than us controlling the music and we were willing servants to the music. This album was done with no rehearsal. We went in the studio, we had sketches of things, and the blending, the richness of the colours and the blending of the harmonies was just amazing and to this day I haven’t heard anything that warms me more than this." Buster Williams: Birdland, New York City, 2nd May 2013 Bennie Maupin: The Jewel in The Lotus released 1974 Buster Williams https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_zz6j41_CHRIS-BARBER-wb_-WILLIAM-ELLIS.jpg Chris Barber: Musican BROWNIE MCGHEE: SING THE BLUES “Everything (every LP) I think of .. I would think 'Well I'm leaving that other one’.” “I know, but don't worry about that.” - WE “I do!” (laughs) - CB I think I've picked one.. yeah..., yeah.. it's an album by Brownie McGhee. Brownie McGhee - great Blues artist. He toured Britain and Europe with us and his working partner Sonny Terry played the harmonica, Brownie played the guitar, wrote the songs, and they toured with us, it's a wonderful memory. We've worked with a lot of Blues people. When they went back to America Brownie McGhee was scheduled to make a recording with a label called Folkways - very important label at that time which now belongs to the Library Of Congress. And he made a recording called 'Memories of My Trip‘ - it was a song about my band! It was very funny because the people who actually put the record together Folkways were used to dealing with people with all kinds of voices ... they got all our names wrong. The text - it was printed, and it didn't make any sense .. they had the names all wrong. For me it's a great souvenir because it's the only one of the Americans, and we've played with all kinds of people, who really kind of were interested totally in what we did. But then Brownie McGhee was unusual you see. He also came from the South and Brownie went to college, Brownie did English literature and his favourite author .... what's the poem .. Kipling... 'If'. Now Kipling was not a left winger (laughs) I mean he wasn't a bad man really but he was part of the establishment you know - the colonies and so on but Brownie could recite and he actually wrote a song which is based on the principle on rhyming in the way that 'If' does.... see? It was so nice because we'd played with Muddy Waters and all kinds of people who were very very important and who were very nice and we enjoyed playing with him. Back in America one time I played as a member of his band, he invited me as a member of his band at some gigs and I worked with Dr. John on recording I've done a lot of things with some very talented people, but Brownie was very special because he actually was thinking about it in a nice way - you know.” Chris Barber: The Sage, Gateshead, 6th April 2018 https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_74pgmu_DAN-MORGENSTERNwb_-WILLIAM-ELLIS.jpg Dan Morgenstern: Jazz historian and journalist. LOUIS ARMSTRONG: RARE ITEMS (1935 - 1944) “Well, this is an album of Louis Armstrong's called 'Rare Items' which I had something to do with putting together, and they are mostly things from the 1930's, a period that, at least at the time. was not considered by critics to be as significant as 'The Hot Five, Hot Sevens' or the later 'All Stars' things ,but this was music that was very significant to me because I, so to speak, grew up with it. I discovered things about Louis - these are wonderful records. Among them numbers like 'Swing That Music', which was also the title of his first autobiography, published in 1936 and released, coincidentally, simultaneously in England and the USA. On that he displays his amazing facility - I could count 42 consecutive high C's and an F and a G at the end (laughs). And beautiful things like Hoagy Carmichael's 'Ev'ntide', which is a very pretty tune that oddly enough has not been recorded by many people; Bob Wilber did it many years later. Anyway, this was a kind of statement about Armstrong that was important to me because I felt that period had been underestimated and I still love all those things. I did the notes for it as well. Milt Gabler, at the time, was in charge of reissues at Decca. Milt was a wonderful man, he was the founder of Commodore Records and a great friend, a personal friend, to jazz musicians. It was special to me, and I was very happy that it was well received." William - And it stayed with you Dan obviously. After all the records, all the music you've played, listened to and reviewed perhaps.... that record’s just stuck with you all this time. Dan - "Well, you know, it was something that was very personal to me, because these were things that I'd learned to love.... as you know, in the 78 stage, when you had to work for your music. When I started out I had a wind up phonograph! ( laughs). I was very lucky to get to know Armstrong, I met him in 1950 and I had the great pleasure of spending time with him in his very busy life, a little bit on the band bus and a few times at his home and backstage at various places. So, he was such a unique person, as a human being and an artist, and there won't ever be anyone like him again -- ever! Dan Morgenstern: At home, New York City, 29th September 2016 Louis Armstrong: Rare Items (1935 - 1944) released 1967 Dan Morgenstern Director Emeritus, Rutgers Institute of Jazz Studies, NEA Jazz Master, author, "Living With Jazz". Note: All the "Rare Items" plus all others from this period were later issued by Mosaic Records as "The Complete Louis Armstrong Decca Sessions (1935-1946)", a 7 CD set, with notes by Mr. Morgenstern. https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_fhnfnt_DARIUS-BRUBECK_WELLISwb.jpg Darius Brubeck: Musician ERIC DOLPHY: OUT THERE "Well actually when you introduced the project, I thought - 'I could really work at this - and that would be too much of a challenge!' Or I could just go with what popped into my head, and a very interesting one did. It's 'Out There' by Eric Dolphy. And the reason I think it was a very influential album for me was the instrumentation really. The unusual sonority of cello, bass, bass clarinet - when he played bass clarinet or flute, when he played flute and a little bit of alto but, you know, the changing around - and the cello. So no chord playing instruments as such but just the way those instruments resonated with each other and the way of playing in the kind of post BeBop style - but nothing very formal . You now when I talk about the instruments you might think of it as sounding more like one of the more formally arranged West Coast jazz things that were kind of in that third stream pocket or something - but it wasn't at all. It was actually very New York, it was a bit odd, a bit scratchy - Ron Carter on cello - playing and so forth. But it had tremendous time and feel and it created a sound Universe for me beyond what I thought of as the instrumentarium - the sound universe of straight ahead jazz and yet it didn't sound like a classical cross over kind of thing - like the things that you know - my father was doing with Leonard Bernstein or even Gunther Schuller. It was its own space. 'Out There' really influenced me to try and find those spaces myself." Darius Brubeck: The Spa, Scarborough, 27th September 2015 Eric Dolphy: Out There released 1960 Darius Brubeck https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_rri34d_DAVID-LIEBMAN-wb_-WILLIAM-ELLIS-copy.jpg David Liebman: Musician, educator MILES DAVIS | GIL EVANS: SKETCHES OF SPAIN “The album is “Sketches of Spain” - Miles Davis in collaboration with Gil Evans, and the reason that I love it so much is because it goes beyond music, beyond idiom, beyond style - and even beyond Spain even though it’s dedicated to the culture of Spain in a certain way. There’s just a feeling on that record between the writing and the way Miles plays that’s just the universal cry of blues, of joy, of humanity and everything .. I mean I get a feeling from that record beyond category and beyond vernacular .. it’s not even jazz it’s art at it’s highest level. I’ve recorded “Sketches of Spain” and played it many times and its a very challenging piece of music, Miles just handles it with such grace and so much class the way he plays the music that .. if it was only that it would have been a great piece - but the writing is great and Gil Evens .. I mean they surpassed themselves on that record for me.” David Liebman: Jazz Standard, New York City, 5th October 2018 Miles Davis/Gil Evans: Sketches of Spain released 1960 David Liebman https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_yhgryk_DENYS-BAPTISTEwb_WELLIS.jpg Denys Baptiste: Musician COURTNEY PINE: JOURNEY TO THE URGE WITHIN "Ok, I've thought long and hard about this and I thought to myself actually it would be Courtney Pine's 'Journey to the Urge Within', which was his first album that came out when I was at school. I'd been dabbling with a little bit of jazz at the time, I hadn't really had any idea about being a jazz musician and I think on hearing that album and hearing him playing that music live was the thing that kind of inspired me. The thought 'You know actually I could do that too'. So it holds a very special place in my heart as an album that kind of made me make the difference between deciding to be an engineer or being a musician." Denys Baptiste: The Spa Scarborough, 26th September 2015 Courtney Pine: Journey To The Urge Within released 1986 Denys Baptiste https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_y4me9i_DONNY-MCCASLINwb_WILLIAM-ELLIS-copy.jpg Donny McCaslin: Musician JOHN COLTRANE: A LOVE SUPREME “Well this is "A Love Supreme" by John Coltrane. And I just remember being so taken with this record when I heard it. There’s just a deep sense of expression coming from him and the whole group, you know ..its .. they’re kind of at their zenith in terms of their inter play and there’s the depth of his playing ... is just stunning. The combination of emotion and sophistication and soulfulness and rhythm. I mean it’s just everything that’s so compelling about music you know and the message of this record being, you know, so connected to the Devine. Such a passion filled record but also there's so much contemplation in it. I just sort of hear the sort of yearning and the reaching out to The Almighty. So it’s just one that I’ve listened to over and over and over again. It never fails to inspire me.” Donny McCaslin: Band on the Wall, Manchester 30th October 2018 John Coltrane: "A Love Supreme" - released 1965 Donny McCaslin https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_nijaqb_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_pblxsfdq_i0v8mv_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_pblxsfdq_4feygs_FRED-HERSCH-3466wb_-WILLIAM-ELLIS.jpg Fred Hersch: Musician GLENN GOULD: PLAYS BACH - THE SIX PARTITIAS "Well, I had a short list of four - five actually, five. One is 'Glenn Gould Plays Bach' and you can see from the rather beat up condition of it. It was a gift to me when it new and I can look at the year, but I was probably not more than six or seven years old when I received that - and it's probably scratched to shit. But it really awakened my love of counterpoint and moving voices - and just Glenn Gould's sense of rhythm is so astonishing and you can't say that about certain classical pianists, they don't really. There's just a joy in his playing. And then Miles Davis 'Friday Night at The Blackhawk. When I listened to that record - that's when I decided I wanted to become a jazz pianist. I loved the fact that it was live, the way Wynton accompanies Miles is incredible - the sense of swing, the fact that it's a live album and wasn't edited in the studio - you really hear the whole performance. I love that it was Miles's debut with this band it's the first time they'd ever done a gig and he had the balls to record it and put it out. You know - that's the kind of person he was. Other album? Sonny Rollins Trio - 'Live at The Village Vanguard' with Elvin Jones and Wilbur Ware which I think is kind of the definition of what modern jazz is, and I've listened to that - I think there's two volumes, I've listened to them I don't know how many times - I tell every student I have 'You have to listen to these - this is what jazz improvisation is.' Joni Mitchell's 'Blue' album. You know, that in a weird way led me toward jazz trying to figure out what the chords she was playing were because they weren't major, they weren't really minor. To a high school ear they were very mysterious. Just the way she tells stories and I've set a lot of text and she's kind of my guru for how to take a complicated text and make it understandable - set text. The other album was 'Mingus Mingus Mingus Mingus Mingus' which is, to me, - I've sort of talked about it as kind of like Duke Ellington on acid. It's kind of a mid sized ensemble and the way Mingus and Dannie Richmond play together is kind of miraculous, and Jaki Byard is on it and I eventually studied with Jaki Byard. So these were the five. I will probably pick ‘Glenn Gould plays Bach’ in the end. You know Bach is the composer that everybody loves - first of all.- you can’t not love Bach. There’s not only the most sublime craftsmanship but, as they say, he wrote for the glory of God. Nobody commissioned him to write these piano pieces he just did this because this is what he did. And he had twenty two children and he wrote with a quill and ink and no copying machines and no music notation software - and candles ... and he created all this universe. I think probably a distinctive feature of my jazz playing is its contrapuntal nature and it was really launched by not only listening to these albums, this three disc set I think, but by playing those pieces and understanding how three independent voices can be a whole universe. The other reason that musicians love Bach is there are no dynamic markings, there are no tempo markings, very rarely there is a slur or an articulation marking but pretty much you have to do it all yourself and there’s no one correct way to do it. When you’re playing Bach you decide how you’re going to articulate the theme if it’s a fugue. Nobody can tell you that’s right or wrong, and as long as you make a case for it - that this is the way you hear it and you’ve really thought about it and you can execute and sell your performance. It’s like there’s no perfect Hamlet or there’s no perfect version of 'Autumn Leaves'. There are many possible versions, it’s just - they’re templates for whoever inhabits them and I think Bach’s music is universal in that way. It’s the music that I always come back to. So I think that’s what I’m gonna pick." Fred Hesrch: At home, New York City, 3rd October 2018 Glenn Gould Plays Bach: The Six Partitas, The Two and Three Part Inventions Fred Hersch https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_zp97z0_GEORGE-CABLES-OLP-28wbFF_-WILLIAM-ELLIS.jpg George Cables: Musician MILES DAVIS: MY FUNNY VALENTINE “Well, you know, I've got to tell you that when I started playing this music, when I (first) wanted to be involved with this music, the most important thing to me was just being in the music, being able to play in a band. Not necessarily being a band leader or anything like that but being able to be a part and have an influence on the direction of the music as a pianist as a rhythm section player. And this record is really indicative of that. The guys playing together - Miles Davis who's the captain of this ship - but everybody has a strong role and it's not like ... you don't get the feeling that Miles is there and the other guys are just kind of back up - backing musicians kind of doing their job period. But everyone has an important role and a strong influence on the direction of the music. For me that's the big picture for this record and what happens in there is the way everybody uses colours, uses the harmonies. You know they're the same but they're different. A different way of approaching harmonies, a way approaching chords that kind of allow the chords to blossom and the music to really take another direction. When I listen to Miles’ band, especially that band, I just felt that Miles was - that it was like watching magic being made right in front of you. And this record gave me ideas about how to use chords, how to approach chords, how to try to create colours or discover colours in the music and try to make those things blossom.” George Cables: Village Vanguard, New York City, 7th February 2019 Miles Davis: “My Funny Valentine” / Miles Davis In Concert - released 1965 George Cables https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_1ybldm_GIANNI-VALENTIwb_-William-Ellis.jpg Gianni Valenti: Proprietor of Birdland OSCAR PETERSON: WITH RESPECT TO NAT "One LP - absolutely Oscar Peterson. He was a very dear friend of mine. He played for us at Birdland on a number of occasions. We became very close and I visited him manytimes at his home at Mississauga in Toronto. And one visit, we were in his studio and he said, ‘I wanna play you a disc.’ So we went into his little room and he had a wall of discs. He actually had recorded perhaps 250 discs, whether they were just a trio or with others. And he always kept a copy, a beautiful library. And he pulled one out and started playing it and he said, ‘What do you think?’ And I said, ‘Nat sounds great.’ It was a Nat King Cole song. And he said, ‘That’s not Nat.’ And I said, ‘Well, who is it?’ He said, ‘That’s me.’ And I says, ‘You’re kidding me.’ And he says, ‘No, this is an album I did after Nat passed away, With Respect To Nat, in 1965, on Verve Records.’ With his trio, with Herbie Ellis, Ray Brown and of course Old P at the piano. And the album is fascinating for me because I get to hear him not only as genius at the keyboard but hear him sing. And when you hear this album, you have to say, ‘That can’t be Oscar Peterson singing.’ You think it’s Nat King Cole. His voice and Nat’s were so similar. And he told me the story behind it, why he did that album. There was a running thing that the two of ‘em had. Cos Nat was an excellent piano player. Whenever Nat would show up at one of Oscar’s gigs, he would invite him up to play and Nat would go wild at the piano. And then Oscar would get up and he would play and he would sing. So one day after the gig, he told Nat, he said, ‘Let’s make a deal. You stop playing the piano that way and I’ll stop singing this way.’ That was it. So they were brothers, they loved each other dearly. And unfortunately when Nat passed away, Oscar was really taken aback. He was hurt to lose a friend like Nat. And this was a way to pay his respects to one of his dear friends, and of course the album is titled With Respect To Nat. And to this day, like I said, to hear Old P singing and playing at the same time, I couldn’t have chosen a more loving and dear album to me." Gianni Valenti: Birdland, New York City, 2nd April 2014 Oscar Peterson Trio: With Respect To Nat released 1965 Birdland https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_w4i1b1_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_pblxsfdq_129dpn_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_pblxsfdq_dddyt0_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_pblxsfdq_9jrxj0_JACOB-COLLIERw-WILLIAM-ELLIS.jpg ONE LP@DOCUMENTING JAZZ_2020 | ABOUT View ONE LP@DOCUMENTING JAZZ_2020 by ABOUT. https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_5lmirn_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_pblxsfdq_k955ee_JEAN-TOUSSAINTwb_WELLIS.jpg Jean Toussaint: Musician JOHN COLTRANE: LIVE AT THE VILLAGE VANGUARD 1961 "It's Coltrane - 'Live at the Village Vanguard' - the one from '61. And, you know, it's special because when it came out I think he was constantly blowing everybody's mind but when he brought this out he blew everybody's mind! And you know - and their mother and father and grandmother, you know (laughs). He just rewrote the whole thing - playing the saxophone like that and leading the band like that was never done until that record. That was the template for like hot modern jazz from the 60's, you know, and up until now. It's for me that's the height of the music you know and nobody has gotten that kind of playing to that level as yet, in my opinion you know. that's just - it's all - you know - it's one persons opinion - so a lot of people might disagree you know. So, but that's it - that's why. And it's what he's doing with the blues - what he's doing with the modal thing that he got from Miles - it's where he was taking it. He was taking it elsewhere you know. He was just going into all the different places that we who followed is attempting to continue and develop and go into there, you know, but him, Elvin, Jimmy Garrison and McCoy Tyner they were doing that in 1961 you know. They started that ball rollin' for me, you know, and that's why I love it." Jean Toussaint, The Spa. Scarborough, 26th September 2015 John Coltrane: Coltrane "Live" at the Village Vanguard released 1962 Jean Toussaint https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_crazrj_JOHN-BEASLEY-OLPwb_-WILLIAM-ELLIS.jpg John Beasley:Composer, pianist, arranger, producer THAD JONES, MEL LEWIS J.ORCH: CENTRAL PARK NORTH "This is Thad Jones Mel Lewis Jazz Orchestra 'Central Park North' - this record totally changed my life. I was listening to Blood, Sweat & Tears, Hendrix, The Watts 103rd Street Rhythm Band, Earth Wind & Fire - bands like this and my dad brought home this one day for my birthday. I was playing in bands. I was really into music but, you know, he brought this and I just stared at the front of this and just listened and read these liner notes over and over again. And it set me on the road to want to become an arranger and a jazz musician. I would play to the record - at that time I was playing saxophone, a little guitar and drums and I would pretend in my bedroom - pretend like I was in this band. Just totally make believe. Yeah ... that’s this record for me. I wouldn’t be here right now without this record." John Beasley: The Eli and Edythe Broad Stage, Santa Monica CA, 12th October 2018 Thad Jones - Mel Lewis Jazz Orchestra: Central Park North - released 1969 John Beasley https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_imgi38_JON-FADDISw_William-Ellis.jpg Jon Faddis: Musician DIZZY GILLESPIE AND ROY ELDRIDGE: SOUL MATES “ I remember getting this as a present from my sister on my 11th birthday. And I just remember how excited I was - and I listened to that record thousands of times. It wasn’t my first Dizzy Gillespie record but I think it was one of the most important because I couldn’t stop listening to it. Dizzy - Roy back and forth, Dizzy - Roy back and forth. So - there you have it!” Jon Faddis: Wigan Arena, July, 2014 Dizzy Gillespie and Roy Eldridge: Soul Mates released 1954 Jon Faddis https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_pnldq3_JON-HENDRICKS2wb_-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. WE - "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.” WE - “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 - the peerless 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 have been working on a major piece based on Miles Ahead which will be performed by the London Vocal Project in New York and London. More Roy DeCarava https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_ih3iqb_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_pblxsfdq_4lbnvi_KENNY-WERNER-OLP-wb_-WILLIAM-ELLIS.jpg Kenny Werner: Pianist, composer, author, lecturer MICHEL COLOMBIER | WINGS “Well, its called “Wings” and its by Michel Colombier he was a movie (score composer)… he did a few jazz records too and Herbie Hancock and those guys played on it …but he did a lot of movie sound tracks but he and Herb Albert became tight and Herb wanted him to do a record that was like .. expressed the whole world ..and it is. I’s a blend of pop feeling of the time …1970 but Stravinsky, Brazil '66, The Beatles ..but none of that at the same time. It’s just one surprise after another. It’s very dramatic and it is my favourite record. It’s a flow of ideas from different types of sounds but he almost outdoes everybody that it’s derivative of ..it’s amazing.” Kenny Werner: Jazz Standard, New York City, 5th October 2018 Michel Colombier: Wings released 1971 Kenny Werner https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_pflari_LEE-KONITZ-OLP-12wb_-WILLIAM-ELLIS.jpg Lee Kontiz: Musician ANYTHING BY ROY ELDRIDGE: “I know if Roy Eldridge is on it I'm going to like it. Every record that I've heard Roy really stretch out and I like very much he always very special, but not thinking of a special album cover." WE - “Thank you. I wonder if - maybe the first time you played with a particular musician that went on to become a great friend, perhaps you might have something like that in mind too?” Mr. Konitz “Well, I have a few of those. Not able to just repeat them offhand. But I I have been going through all my albums, and small records and find a lot of them that I like very much - the covers and the substance..” Lee Konitz: Blue Note, New York City, 9th October 2018 The session took place prior to Mr. Konitz' 90th Birthday Celebration performance. Roy Eldridge:'Swingin' on the Town' released 1960 Lee Konitz https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_p4bcw6_LOUIS-HAYESwb1_-William-Ellis.jpg Louis Hayes: Musician HORACE SILVER: 6 PIECES OF SILVER “This LP was recorded in 1956 with Horace Silver (I chose it) because it was my first. When I first came to New York I had the opportunity to record this album and I enjoyed all the music that he had written for it so it will always be one of the most special albums I’ve ever recorded - Horace Silver and all the musicians that participated on the album.” Louis Hayes: Ronnie Scott's, London, 9th February 2017 Horace Silver: 6 Pieces Of Silverreleased 1957 Louis Hayes https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_yy9nn8_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_pblxsfdq_pjgy7s_MARCUS-MILLERwb2_William-Ellis_-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" released 1958 Marcus Miller https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_21klzu_Martin_Taylor_w1LP__WEllis.jpg Martin Taylor DJANGO REINHARDT: DJANGOLOGY Martin Taylor: Floral Pavilion, New Brighton, 19th November 2010 Django Reinhardt: Djangology - released 2005 Martin Taylor https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_xhq5b7_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_pblxsfdq_v6w0lu_NORMA-WINSTONE-FFwb2583_-WILLIAM-ELLIS.jpg Norma Winstone:: Musician MILES DAVIS: KIND OF BLUE “Well, it's Miles Davis “Kind of Blue”, I'm sure loads of people chose this one - I had to chose it because it had a profound effect on me. I don't know how many other albums I'd bought before then but I think the first one that I ever bought and I saved up for when I was at school was “Ella and Louis with the Oscar Peterson Trio.” And I was also very affected by Dave Brubeck’s quartet with Paul Desmond and I found that I was listening to the solos, I was learning the solos, I didn't realise they were improvised because Paul Desmond was so clear in the way he played and you could actually copy it. But, I think I joined a club and we saved up so much a week and then this guy would come round and he'd say 'Well this albums new ... and this ones new .. and I can order it for you' , and he said 'there's a new one by Miles Davis, John Coltrane “Kind of Blue” and I thought 'Oh have to have that!'". Norma Winstone: Midland Hotel, Manchester 26th July 2018 Image Courstesy of the Royal Northern College of Music One LP Series Miles Davis: "Kind of Blue" released 1959 Norma Winstone https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_n69dkw_ORBERT_DAVIS_wb__WELLIS.jpg Orbert Davis: Musician CLIFFORD BROWN: CLIFFORD BROWN WITH STRINGS Orbert Davis, co-founder and Artistic Director of Chicago Jazz Philharmonic. "This is Clifford Brown with strings, I was a teenager when I first heard this incredible album - the depth is in it's subtleties - and Clifford is so perfect with the string writing of Neal Hefti. It's a true blending of classical and jazz. The first thing I knew - this is funny – I recognised the name Neal Hefti from the Batman theme! For me as a trumpet player I study Clifford Brown - as an arranger I study Neal Hefti, so this brings both those worlds together - and it did so when I was back in high school when I discovered this recording- this is my One LP!" Orbert Davis: Symphony Centre, Buntrock Hall, Chicago. 15th May, 2013 Clifford Brown with Strings: arranged and conducted by Neal Hefti released 1955 Orbert Davis Chicago Jazz Philharmonic https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_o7rmnj_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_pblxsfdq_2ddo7y_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_pblxsfdq_l9iazz_PETER-ERSKINEwb_WILLIAM-ELLIS.jpg Peter Erskine: Musician STAN KENTON: CUBAN FIRE! “Johnny Richards’ writing has always struck me as being bold, exciting, brash, tender AND noble. ‘Cuban Fire’ is his masterpiece, and the Kenton orchestra of the 1950’s with Mel Lewis propelling a stellar group of horn players and soloists and percussionists— including my teacher George Gaber who played timpani on 2 cuts — is the height of big band ecstasy for me. I’ve treasured this album ever since I was young, and listening to it still gives me goosebumps, inspiring me and reminding me of why I’ve always wanted to play the drums. Choosing ‘Cuban Fire’ as my One LP disc was an easy and natural choice.” Peter Erskine: Stage right, The Bridgewater Hall, Manchester, 20th November 2015 Stan Kenton: Cuban Fire! released 1956 Peter Erskine https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_i1smfh_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_pblxsfdq_9pj6sb_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_pblxsfdq_jhvelx_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_pblxsfdq_gcx4l6_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_pblxsfdq_cc92wp_SCOTT-YANOW-7315wb_-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 favourite of mine." Scott Yanow: At home, Lake Hughes, CA, 8th October 2016 Fletcher Henderson: "A Study In Frustration" recorded 1923 to 1938 released 1961 Scott Yanow https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_cysj81_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_pblxsfdq_sajnsf_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_pblxsfdq_jpyuee_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_pblxsfdq_xopf6h_SUE-RICHARDSONwb_WELLIS.jpg Sue Richardson: Musician GERRY MULLIGAN: THE ORIGINAL QT WITH CHET BAKER “It's the Gerry Milligan and Chet Baker album. The very first one they made together in the early 1950's - it was the album that made Chet Baker the star - put him on the map. And I love it because it was really unusual. Gerry Mulligan was the ideas guy, was doing lots of arranging. He'd just been working with Miles Davis. And he didn't have a piano in his band so there was nothing in the rhythm section apart from bass and drums and then he was playing baritone sax and Chet was playing trumpet. Chet didn't really read music - he wasn't a theorist - but somehow they just instinctively just worked together. So things like Bernie's Tune and there's that solo and they were all just weaving in and out together. It's - ahh- its sublime and so, yeah, it's the thing that really does it for me. Makes me feel like a bit of a dinosaur - cos - oh I love 1950's music. But it's - yeah - it's what does it for me. It's laid back, it's quiet, it's not in your face. It's just beautiful.” Sue Richardson: The Spa Scarborough 26th September 2015 Gerry Mulligan: The Original Quartet With Chet Baker released 1998 Sue Richardson https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_dy30ws_TERRI-LYNE-CARRINGTON-wb_-WILLIAM-ELLIS.jpg Terri Lyne Carrington: Musician WAYNE SHORTER: JUJU “There’s so many of course, I guess one that just came to my mind is “JuJu” by Wayne Shorter - there are so many amazing songs on that record .. on all of his records. But for the classic Wayne Shorter records, I love that one. And ‘Infant Eyes’ (on "Speak No Evil") for me, that’s one of the most beautiful songs ever written. Also love “Deluge” and “JuJu” and ”Twelve More Bars to Go”. All of them – it is such a strong collection of songs and the playing is just unbelievable. Wayne’s sound on “Infant Eyes” (on “Speak No Evil”) is so special. I mean it’s easy to fall in love with Wayne in all of his different incarnations, but the sound that he gets when he’s playing a song written for his daughter when she was very young or recently born… you can hear that in that melody. That album really captured an incredible moment in Wayne’s career, it’s just amazing.” Terri Lyne Carrington: Jazz Standard: New York City, 5th October 2018 Wayne Shorter: "JuJu" realeased 1965 Wayne Shorter: "Speak No Evil" released 1966 Terri Lyne Carrington https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_ub9nlh_TIERNEY-SUTTON-wb_-WILLIAM-ELLIS-copy.jpg Tierney Sutton: Musician NANCY WILSON/CANNONBALL ADDERLEY “I’ve been thinking about "Nancy Wilson and Cannonball Adderley”. That album, which was one of Nancy’s first break out records and I think one of her finest. It had a huge impact on me. It was one of the first vocal jazz records that I really obsessed over and that’s interesting because half of the record is not vocal. Half of the record is Cannonball and Nat Adderley playing instrumental music with the band. And I of course enjoyed that every bit as much as Nancy’s vocals. So it was sort of something that brought my mind into the world of how a singer interacts with instrumentalists and how that could be something new to my way of thinking because I was raised in a world of musical theatre and classical music and Broadway where the singer is kind of the singular “star”, apart from the musicians... But Nancy is so integrated and the tone of her voice is so horn like and her phrasing is so wonderful. I mean I just memorised every lick from that record and actually in my very first recording, the very first track was “Old Country” and its basically completely derivative - and even Carol Sloane wrote a review of that record way back when and she said .... she was very approving of it but she said - ‘it’s surprising that I’m praising it because the first track is just derivative and just nothing new’. And the reason that it wasn’t is I can’t resist singing these songs the same way Nancy did o that record. In fact that’s true of a lot of Nancy Wilson recordings that I love ... there’s little licks that she does and I can’t go anywhere but there and so I’ve avoided recording those songs ever since. That shows how deeply it affected me.” Tierney Sutton: At home Los Angeles, 16th October 2018 Nancy Wilson/Cannonball Adderley released 1961 Tierney Sutton https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_3j7o7c_TONY-KOFIwb_WELLIS.jpg Tony Kofi: Musician THELONIOUS MONK: BRILLIANT CORNERS "Brilliant Corners' by Thelonious Monk. Why this album is so special for me is because when I first heard it - it sounded all wrong but it pricked my conscience you know. The actual tune 'Brilliant Corners' - I didn't understand it because it wasn't even and symmetrical like most standards are - or most compositions are. Very quirky and the strongest link all his compositions was the melodies you know; the strong sense of melody and time - and the feel - and dissonance. So, that was the album for me and that really got me into jazz and made me.... kind of like think.... this is what I want to be when I grow up." WE So, it's through the intrigue of the album almost? TK Yes yes - absolute intrigue. 100% total intrigue. When I first heard it I didn't like it but then when I investigated I realised that it challenged me and so I went for that challenge and start learning about Monk and studying Monk. So it was total intrigue, you know sometimes the thing that intrigues you most is the thing that grabs you, you know, the most - so Brilliant Corners is one." Tony Kofi: The Spa, Scarborough, 26th September 2015 Theloniuos Monk: Brilliant Corners released 1957 Tony Kofi https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_o6e9rf_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_pblxsfdq_rbuy81_VICTOR-LEWIS-OLPwbf_-WILLIAM-ELLIS.jpg Victor Lewis: Musician LARRY YOUNG: UNITY “ And so to the point in hand. If I could narrow it down - and believe me it’s hard to narrow it down, and so I just had to say ‘Hey man - just pick one within Boom Boom within how I was feeling at the time, and I’m still feeling it. I’m gonna say “Unity” - the Larry Young record. “Unity” with Joe Henderson, Woody Shaw, Elvin Jones - it’s a quartet record and I must have listened to that - as some would say - ‘Many many Hail Marys worth.’ (laughs out loud.) It was like people read the Bible every day - I played it every day - it was healing, it was inspiring, it was (to) give me a bar to try to reach you know. And the,n I was thinking of all that other stuff who is just good to listen to you know without trying to think it too much - that it was just great to just sit back and just listen to man - you know so I would have to say - ok, if you ask me again in say six months - if it’s summertime you know - it may fluctuate - it may ephemeral but right now - where I’m at now - that’s the one I’m choosin'.” Victor Lewis: Village Vanguard, New York City, 10th February 2019 Larry Young: 'Unity' released 1966 Victor Lewis https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_apqxad_CHARLES-MCPHERSON_wbwds-c-WILLIAM-ELLIS.jpg ONE LP@DOCUMENTING JAZZ_2020 | ABOUT View ONE LP@DOCUMENTING JAZZ_2020 by ABOUT. https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_w3xrcl_GERALD-CLAYTONwb-c-WILLIAM-ELLIS.jpg Gerald Clayton: Musician FREDDIE HUBBARD: HUB-TONES “Well, this is certainly a challenge because as you would imagine, there's millions of records we can point to. And, you know, my usual kind of go to answer is always where I started - which is like Oscar Peterson, and there's a few records that really stand out. But I think another one that was really important to me that I would love to shout out is Freddie Hubbard “Hub -Tones." There's a track on there called “Lament for Booker” it's a really beautiful ballad and Herbie Hancock plays maybe my favourite solo ever. It's only half of the form, you know, the only place that the first of the tune, but it just has everything in it. And it's another example of just his, you know, all of the characters, the feelings, emotions all that that sort of combined when Herbie takes a solo. Like I said, it's just got everything in it. So I want to shout that out and it's really special to me.” Gerald Clayton: Jazz Standard, New York City, 13th October 2019 Freddie Hubbard: "Hub-Tones" - released 1963 Gerald Clayton https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_8oiqjc_JUSTIN-ROBINSONwb-c-WILLIAM-ELLIS.jpg Justin Robinson: Musician CHARLIE PARKER: CHARLIE PARKER WITH STRINGS “The Charlie Parker with Strings record. The reason why it's so special to me is actually it brings back fond memories of hanging out with my dad, who was a huge fan of Charlie Parker, and my mom as well - but my dad was a Charlie Parker fanatic. And so that record was something he would play all the time in particular, like “April in Paris” and also of course “Just Friends” with the solo break that you know - I don't think can ever be redone again, you know? Yeah. So it brings back very special memories of being at home with him. You know, 12 years old -11 years old is listening to him sing all those different things enjoying the music on the weekends.” WE “You find that set your course as well Justin - for your incredible career?” “I think so - but I think that the music chooses you before you choose it. It's like you almost don't have a choice - it's like you're initiated before you’re even aware of it. But I think that that was my 'in' into the society of Secret Society of Music!” Laughs Justin Robinson: Django at The Roxy Hotel, New York City, 12th Octber 2019 Charlie Parker: "Charlie Parker with Strings" - released 1955 Justin Robinson https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_rtfgft_MARQUIS-HILLwb-c-WILLIAM-ELLIS.jpg Marquis Hill: Musician DONALD BYRD: OFF TO THE RACES “Yeah, it's a Donald Byrd record called “Off To The Races” - Blue Note release. I want to say maybe the late 50s. But for me, it was one of the first records that really exposed me to Donald Byrd’s sound and he's one of my major influences his clarity and his ideas and his shapes. And also on that record Coltrane is featured - he’s on the project as well. And you know, his sound is powerful and I'm a huge fan of Coltrane as well. So that's one of my favourite Donald Byrd records - the first one that came to mind when you asked me,yeah.” Marquis Hill: Nate Holden Performing Arts Centre, Los Angeles, 19th October 2019 Donald Byrd: "Off To The Races" - released 1959 Marquis Hill https://storage.neonsky.app/651h4emo/images/651h4emo_pblxsfdq_8dm2tv_THEO-BLECKMANNwb-c-WILLIAM-ELLIS.jpg Theo Bleckmann: Singer and composer KATE BUSH: HOUNDS OF LOVE “It’s very easy, actually - it's Kate Bush “Hounds of Love” which is really my favourite LP because it is conceived for for the LP format. It has two sides that are quite different. The second side - the B side has songs about all that water based on a Lord Tennyson poem. So I love the idea of really using a format like that like saying, ‘here's one thing’ and then on the other side, ‘there's another thing’. And of course, you know, I'm a big Kate Bush fan. I admire her writing. I admire her lyricism and her mysticism in her lyrics very, very much. I think this this is a sort of a breakthrough record in pop music in general because it also deals with layering of sonic space, also doing some ambient layering - Eberhard Weber is playing bass on this record and that should tell you something about what the sonic space is that in these songs. And it's a very iconic record because of where it was in my life in '85 - I graduate high school and so that record was sort of at the at the cusp of becoming a musician/artist coming from childhood. So it's a very important record to me that way I think musically It is so esoteric and weird - that as a pop record at the time, I don't know if it was received in a way that it that other records that other pop records can be received because it has so much content - and so much weird content weird - I mean, in a good way, yeah - and not understandable on first, second, third or fourth listening. And it was only when I took on Kate Bush’ repertoire for my project in which I sort of took her on as a composer and rearranged and reshuffled her music for a jazz ensemble - for a small jazz band, that I understood some of the songs. I mean, “There's a Dream of Sheep” is one of the songs it's a very beautiful, almost lullaby kind of song and I wasat offices a lovely little, littlelullaby, but it actually is a song From the perspective of somebody who is drowning or dying in a shipwreck, or in a plane crash in the ocean, and wanting to be saved, and praying or hoping to not fall asleep, that's an incredible metaphor for life, you know, to not fall asleep and drown, but to just stay awake. And I didn't understand that as you know an 18 year old ago, ‘this is a pretty song’. So the depth and the scope of her work only became apparent or only became really clear to me when I delve into it as an arranger as an interpreter, not as a listener only. So that's why I wanted to choose this record.” Theo Bleckmann: Moss Theatre, Santa Monica CA, 20th October 2019 Kate Bush: :Hounds of Love" - released 1985 Theo Bleckmann https://onelp.com/one-lpband-on-the-wall 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_umm02z_CHRISTIAN-SCOTT-WEB-FF-WORDS.jpg ONE LP@BAND ON THE WALL | ABOUT View ONE LP@BAND ON THE WALL by ABOUT. https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_ut4who_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_8re5kbpf_iz2pz2_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_8re5kbpf_pi1qio_BILL-LAURANCEwb_-WILLIAM-ELLIS-copy.jpg Bill Laurance: Musician HERBIE HANCOCK: SUNSHINE “So my album of choice - it's a tough one - always a tough one! But if it has to be one then it would be an album called 'Sunlight' by Herbie Hancock which I first heard when I was 13 years old, on the way to Italy actually. I was in a car and I'd just bought this record on CD and I put it in my little CD player and I remember being sat next to my dad listening to it on my headphones and it was just a kind of epiphany. I felt like I was finally hearing a sound that I'd kind of always been looking for almost. There's something about this album, it basically bridges the gap between instrumental groove and improvisation and then full symphonic classical arrangements and orchestrations. So it's kind of bridging the gap of these two worlds in the most eloquent and groovy and original way I'd ever heard, you know. And so, yeah, it was kind of like a very significant moment of inspiration. I felt like this was my kind of template for a sound when I was like 13...14. It's something I've, ever since, been striving to kind of recreate my own version of (laughs). WE And were you playing at the time Bill'? were you playing keyboards then already? “¥eah, yes. I'd pretty much been writing since I was really young and trying to find a sound that kind of satisfied me but I was always, you know, trying to categorize myself whether I was like .. jazz - whether I was making a jazz album or a pop album or, you know, an electronic album. And hearing this kind of made me realize that actually you know you can have all these genres together, they can work side by side and actually that's really exciting when they do you know. Actually rather than thinking - categorizing yourself is a constructive thing - I think it can actually be limiting, you know... to kind of disregard genre as such and just sort of embrace all the music that I've come to love anyway is what I've started to do and I feel like this album was the initial inspiration of that. The other thing is, just the visual, the kind of artwork itself is just legendary because it's just him and his kind of, you know, 70's attire with a gold chain and looking like really for disco times with his sort of semi Afro on the cover and then on the back you have this kind of laboratory of keyboards. I remember just seeing it and just like. looking like the end of the rainbow for me.. just all these incredible analogue synthesizers and a Clavinet and just.. I just think it's such a cool way of kind of identifying where all these sounds came from and it's just him in the middle of this little kind of keyboard laboratory ... yeah great stuff.” Bill Laurance: Band on the Wall, Manchester, 8th March 2016 Herbie Hancock: Sunshine released 1978 Bill Laurance https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_5rerlj__MG_9572CHRIS-POTTERwb_-WILLIAM-ELLIS.jpg Chris Potter: Musician DUKE ELLINGTON: ELLINGTON AT NEWPORT “I choose ‘Ellington at Newport’ - I wish I remember how old I was when I first got it - probably 11 or 12. I’m sure I can’t count the number of times that I’ve listened to it . It has the famous solo by Paul Gonsalves - 27 choruses on the blues on a piece called ‘Diminuendo and Crescendo in Blue’ And you can hear the people really start to go nuts and by the end of it, it sounds like there’s a riot and you can feel why because the energy is just relentless. But it was my kind of introduction really to Paul Gonsalves' playing who I’ve always really really love and there’s also an amazing performance of ‘Jeeps Blues’ which features Johnny Hodges - Jeep who was always one of my favourites. For me it’s just one of those really special records that was extremely important to me at a very early time in my study of the horn and familiarity with this music - so I know every note, and I love every note.” Chris Potter: Band on the Wall, Manchester, 15th April 2017 Duke Ellington: Ellington at Newport 1956 released 1956 Chris Potter https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_4tyqn0_CORY-HENRYwb2_-WILLIAM-ELLIS.jpg Cory Henry: Musician STEVIE WONDER: SONGS IN THE KEY OF LIFE "I chose Stevie Wonder's "Songs in the Key of Life" record was one of the first vinyls I've ever heard in my life. And when I heard it, and actually understood what was happening. Musically, it changed my life forever. And the songs now that I listened to it - I still listen to it. And now it has a brand new meaning as a grown man than it did when I was about, you know, maybe eight years old, when I think when I first heard it and lyrically it speaks passed the time it was written - it's so important to what's going on in today's society. The production of the record is, top notch, Stevie Wonder's artistry at this time was going into another, another level, and he was, playing multiple instruments and, you know, he had some of the greatest musicians - Herbie... - so many people are part of this project and this record just means a lot because it shows what can be done when like, you know, when there's a team of people who believe in music and believe in the power of the message of it - "Songs in the Key of Life" stands the test of time. And it will stand the test of time as one of the greatest records ever, in my opinion." Cory Henry: Band on the Wall, Manchester, 2nd Novemeber 2016 Stevie Wonder: "Songs in Key of Life" released 1976 Cory Henry https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_g6oe7m_DONNY-MCCASLINwb_WILLIAM-ELLIS-copy.jpg Donny McCaslin: Musician JOHN COLTRANE: A LOVE SUPREME “Well this is "A Love Supreme" by John Coltrane. And I just remember being so taken with this record when I heard it. There’s just a deep sense of expression coming from him and the whole group, you know ..its .. they’re kind of at their zenith in terms of their inter play and there’s the depth of his playing ... is just stunning. The combination of emotion and sophistication and soulfulness and rhythm. I mean it’s just everything that’s so compelling about music you know and the message of this record being, you know, so connected to the Devine. Such a passion filled record but also there's so much contemplation in it. I just sort of hear the sort of yearning and the reaching out to The Almighty. So it’s just one that I’ve listened to over and over and over again. It never fails to inspire me.” Donny McCaslin: Band on the Wall, Manchester 30th October 2018 John Coltrane: "A Love Supreme" - released 1965 Donny McCaslin https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_91zpbo_DOM-FLEMONSwb_William-ELLIS.jpg Dom Flemons: Musician LEADBELLY: THE LIBRARY OF CONGRESS RECORDINGS “Well the album that I decided to choose was one called 'Leadbelly, The Library Of Congress Recordings'. And it was put out by Electra recordings and there is a three record set. When I picked it up it was actually in connection with Woody Guthrie ‘cos there's another companion set that's called 'Woody Guthrie The Library Of Congress Sessions'. It has a really great charcoal drawing on the cover and so I saw the Leadbelly one. And I'd heard about Leadbelly through err actually through 'Song To Woody' by Bob Dylan. And so I started looking him up and when I picked up this Leadbelly record I mean - it just really gave me a whole blueprint to work within for the repertoire and the idea of the ‘Songster’. And so like I go and buy The American Songster and it was really routed in getting to know Leadbelly’s material and so that one - it was put together by the great Lawrence Cohn - Larry Cohen - out in LA. And he did a great job in really sectioning off Leadbelly’s repertoire in a particular way that just showed the depth and the breadth of that repertoire - specifically on the square dance stuff - really just blew me away you know, and on tour here we're doing 'Poor Howard' and that's where I first heard it was on that record there and that was just something that - I mean it just moved me - ‘cos at that time I was familiar with folk music and blues and early jazz but the idea that there was something that kind of fit between all those different styles was something that just really appealed to me, and so this album just , I mean, it gave me the whole thing. I always call Leadbelly the 'Rosetta Stone' of black folk music and it really is - that compendium really shows that.” Dom Flemons: Band on the Wall Manchester, 11th October 2015 Leadbelly: The Library Of Congress Recordings released 1976 Dom Flemons Lawrence Cohn https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_2uco1h_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_8re5kbpf_wuhh7y_JBRUCE_swb_WEllis.jpg Jack Bruce BAND ON THE WALL: MANCHESTER, 24TH MARCH 2011 I was very sad to hear of the passing of Jack Bruce and would like to share with you my recollections of once meeting him when he kindly agreed to be in the project and how he has been an inspiration to me from an early age. I’ve played electric bass since I was around 15 when a school friend who was having guitar lessons asked if I would like to try and get a band together. I got a Hofner Senator bass for Christmas and set about learning to play Willie Dixon tunes – twelve bar blues and rock and roll. I had no knowledge of bass except for noticing Paul McCartney only had four strings on his guitar… As my interest in the instrument grew I became aware of other players – Jack Bruce was at the forefront. Even with my very limited outlook I knew he was like nobody else and he became my bass hero with Cream. I heard that he was playing at Band on the Wall in Manchester I decided to approach him with the help of friends at the wonderful venue to invite him to be in the One LP Project. It didn’t start well, Jack’s response to the invitation was not positive – in fact he thought it a stupid idea. I wouldn’t give up and decided as he was on tour - and quite understandably perhaps he hadn't had the time to get the full information so I wrote again clarifying things and emphasising the key interview aspect. It turned out Jack’s initial impression was that it was just a photograph of him with the record. So I understood his initial reticence – particularly from the point of view of a man who had survived everything and every situation thrown at him through the sixties and beyond and wouldn’t waste his time on stupid ideas. He kindly agreed and we arranged that the shoot and interview would take place during the first set when his 'Big Blues Band' with another bassist were playing and Jack would have time to get in, relax and do the session. So I set the light up - in a white room, tested and waited for Jack to arrive, soon he came downstairs with his road manager. I introduced myself to the road manager and was told that Jack would do the shoot after the show, which was not good news in as much as I knew he would be tired and perhaps less inclined to go ahead. I had brought along a mounted print of Charles Mingus’ beautiful carved Barbary Lion bass head for him as a gift and gave it to his road manager, who was so helpful, I'm sorry I can't remember his name. He took the picture into the dressing rooms to give it to Jack who almost instantly he flew out of the room asking me in the manner of a barrister: “Who had the bass?” I was surprised at this question and replied (and quickly I can tell you) - that Sue Mingus had it and I’d photographed it after a performance in the Old Fruit Market in Glasgow. Acquitted of implied charges he thanked me and returned to his dressing room. Exciting times - I’ve no idea why he asked except perhaps in a protective way concerned about who had access to such a unique historic instrument. I stripped the light - a Bron pack and ring-flash, and went up to the concert as Jack was preparing to go on at the side of the stage, I took a few frames but was being very careful not to get in his way. After he went onstage I noticed his spare bass and I thought – now or never – I asked if I could hold Jack’s spare bass – his road manager obviously could spot that I was an absolute fan and said ok. I feel a bit silly telling you this but it's part of the story of how special - and challenging the evening was from my perspective. I held it and silently for a moment then played a couple of notes and handed it back before the spell was broken. I don’t know whether he told Jack what had happened, I think he would have smiled - actually I think he would have laughed. I took some photographs during the performance and a few minutes before the end I went to set the light up again and wait. Shortly afterwards the guys came down the stairs and Jack headed for his dressing room. After around 10 minutes I knocked on the door, really not knowing what to expect. I know it’s tough on the road and every moment you can relax is important, I wouldn’t have blamed him had he finally declined but thankfully when we spoke he was still up for it. The session is usually done in 3 – 4 minutes, I like to work fast to capture the energy as thoughts and emotions come to mind when people connect with and talk about an album that’s very dear to them. Back to Jack, we were at the last crucial stage and I felt we'd been through quite alot together in a couple of hours. I felt somehow and we might be right on the cusp of something special when Jack said: “Do you mind if I’m in disguise?” “No,” I answered, “not at all.” He was offering to do a lot more than he needed to do; he was collaborating with me to create the picture. Jack left for a moment then came back into the white room and stood just as you see him in the portrait, hands just so. The Rock Star - or maybe it was a disguise. Throughout his career he had always played the music he wanted to and if that meant being a rock star from time to time he did it. He spoke about his One LP:- "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 compositions 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." I was mesmorized when I heard this prose from a truly great artist. He had transformed what at times had seemed a hopeless quest into an unforgettable touching experience which I shall always treasure - working with a boyhood musical hero of mine who was heroic in his life’s art in so many ways. Jack Bruce: 1943 - 2014 Jack Bruce © William Ellis https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_b5hllv_JACOB-COLLIER.jpg Jacob Collier: Musician KEITH JARRETT: FACING YOU "So this album is a Keith Jarret album called Facing You. It's his first solo piano album ever and obviously we know Kieth Jarrett as a solo piano God almost. You know he had this whole genre he almost created in the 70's of improvising concerts came - I feel like, from this album. But this album is essentially a series of short pieces, you know, short compositions that he composed. I think it was released in 1972. It's his first time with ECM and for me I feel this rush of youth from Keith Jarrett in this album and obviously Jarrett's had a very long career - but there's something about the way he plays the piano for me which has defined my own piano playing. But this rush of ideas - of possibility - of taking risks -of stretching time -of experimenting with articulation and sound but it's such a vivid album. It has such a vivid taste in my mouth - and I think yeah for me as a lover of music for flavour that is one of those flavoursome recordings I've ever heard and it stays with me. I keep returning to it cos it's such a special one." Jacob Collier: Band on the Wall, Manchester, 30th November 2017 Keith Jarrett: Facing You released 1971 Jacob Collier https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_k2armx_JOHN-JONESWB_-William-Ellis.jpg John Jones: Musician THE POGUES: IF I SHOULD FALL FROM GRACE WITH GOD “Well, it's an album by the Pogues called ‘If I Should Fall From Grace With God' . They made some great albums - perhaps this is their best known one. I just think it captures a band at their brilliant best. I mean .. we were lucky to go off on tour with them and play support to them around Germany and Europe and so on. And they were always by their very nature exciting live - hit and miss. But I think it was Steve Lillywhite, or somebody like that, produces it and I think they just distill a lot of what they were about. The album manages to sound good and hold your attention but it's exciting at the same time and I think it contains some fantastic songs. Not just, you know, MacGowan at his best with Fairy Tale of New York but I mean it starts off with, to me, one of the greatest opening songs 'If I Should Fall From Grace With God'. They used to open with and when you play sort of wild rebellious Celtic rock and folk rock like that you always want to grab the audience at the beginning. I still try and do that you know with something like 'When I'm up and I can't get down'. But their song just did that, I saw it - and you could hear it and it was just something about it that - it got the mosh pit going - it got everything going - it was just electric! The tunes that they play, Irish tunes that they play - just fabulous the way that they just get it together you know. And much as I might have envied them at certain points - and you tend to be very competitive in the music business, I valued them and I just thought it was fantastic and it's not just MacGowan because there's a Phil Chevron song called 'Thousands Are Sailing' and it's brilliant. For ever there was a song about exile, being abroad and trying to make something of your life that was where it encapsulates that superbly. Some fantastic lines. It's a great song.” John Jones: Band on the Wall, Manchester, 15th January 2015 The Pogues: If I Should Fall From Grace With God released 1988 John Jones - Oysterband https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_g3apik_MARTIN-CARTHYwbWILLIAM-ELLIS.jpg Martin Carthy: Musician LIBBA COTTEN: NEGRO FOLKSONGS AND TUNES “There was a woman I heard in 1959 - a woman called Elizabeth Cotten L-I-B-B-A - Libba Cotten and she played a thing called 'Wilson Rag' but also played 'Freight Train'. She was the person who gave the world Freight Train and I heard her name when when she a representative of hers sued Chaz McDavitt and Nancy Whisky because they claimed to have written it - and she wrote it and she won the law suit. And then I heard the record and bought this record. It was on Folkways Records and it was on 'Negro Folksongs and Tune's... it was of its time! And its second track was Freight Train and I just remember listening to that - listening to it - and thinking - I want to one day play as lyrically as that - that's how I would love to play. I didn't understand until later on that she played left handed and upside down. She always wanted to play and her brother had a guitar and he wouldn't allow her to use it c'os it meant having to switch the strings all round - so she just learned to play upside down and fashioned this way of playing that was just beautiful, beautiful beautiful thing, very delicate and beautifully lyrical and I thought ‘if I can ever play like that I'll be a happy man’. And that's one of the people on my record.” The other two were singers, one of them was a Yarmouth fisherman called Sam Larner. He was about 80 when I saw him singing - he was just amazing.. WE - “When was that Martin?” “When was that... I reckon it was 1958 or 1959. So I was 17 - I might have been 18 - and I just heard this old man singing and he sang a music I couldn't have dreamed of. Just absolutely beautiful stuff because English folk music - the real thing- is very, very odd, it's really odd and I kept thinking 'nobody can sing a tune like that - that's the weirdest tune I've ever heard in my entire life. It was his way with a song called 'Henry .... he didn't call it ' Henry Martin' but it was his way a Henry Martin story and it was just beautiful and I walked home thinking 'it's crazy - nobody can sing a tune like that and I was Lah lah -ing the tune to myself as I went along thinking ‘'nah.... you can't sing a tune like that' .... I didn't see the joke for 20 years you know. ( laughs). And the other one was this - he's a traveller a Scotts traveler/singer you know called Davy Stuart (Hutchison) who I used to do lots of gigs when I used to tour up in Scotland a lot - lovely bloke - he was a traveller and he was wonderfully bonkers and he played a huge piano accordion when he sang and his chording was from another planet. It was just - when I first heard it I thought it was all wrong but as I got used to it I thought it can't be done any other way - it's got to be his way or the highway. (Laughs). WE - “Created his own kind of ....... MC - “Absolutely, absolutely, absolutely right. What he did was right for him and he was another one of those old men who had a passion about his singing. I hear it now and I'm just .. I still get.... I still get goose pimples - every hair on my body stands on end - I haven't got much left but what there is stands up to attention when he starts to sing. And my favourite song of his is a thing called ‘MacPherson’s Farewell’ about a fiddler who's being hanged and err, they wind the clock on a quarter of an hour because they know the reprieve is coming. So they put the clock on a quarter of an hour. So they hanged him and before they hanged him he took his fiddle and he smashed it saying 'no one else shall play this and whack! - smashed it. This bloke sings that song - absolutely beautiful - Davy Stuart.” WE - “Martin - that’s so wonderful to hear, thank you - so special.” MC - “Put those three names on that record - ‘Libba Cotten with Sam Larner and Davy Stuart’. No such album - never will be - unless I do a sensational remix! Nothing’s impossible these days!” WE - “Martin is it a big tour?” MC - “Well - it's been going on for about 54 years so far ... it's not over yet!” Martin Carthy: Band on the Wall, Manchester, 3rd July 2015 Libba Cotten: Negro Folksongs and Tunes released 1957 Martin Carthy Sam Larner https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_bk6g2s_LEO-OKELLYwb_WELLIS.jpg Leo O'Kelly: Musician DONOVAN: WHAT'S BIN DID AND WHAT'S BIN HID "It turns out to be the very first album I ever bought - it was Donovan's 'What's Bin Did and What's Bin Hid' and it was his first album - so that was very special. I'd just heard - like everybody else 'Catch The Wind' on the radio and never heard anything quite like that and I was playing a little bit of electric guitar at the time - and it (the record) just made the acoustic guitar seem more exciting, and you know - pictures of Donovan with a guitar on his back seemed to spell freedom and you could be unplugged and go anywhere you like. That's really what happened. And when I met Donovan for the first time a few months ago we played the Lunar Festival in Nick Drake's home place and I got chatting to Donovan over breakfast and said, you know - 'thanks very much Don for setting me off on the right road." Leo O'Kelly: Band on the Wall, Manchester, 20th September 2015 Donovan: What's Bin Did And What's Bin Hid released 1965 Tir na nOg https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_z0ai68_SONNY-CONDELLwb_WELLIS.jpg Sonny Condell: Musician TAJ MAHAL: MUSIC FUH YA' (MUSICA PARA TU) "It's an album I got many years ago by Taj Mahal and, err, it's called 'Music Fuh Ya”.and it also has a subtitle called 'Musica Para Tu’. It's a sparkly sort of collection of songs, er, Taj Mahal playing his unique style - of guitar playing and singing but also with - keyboards adnd stuff a band that consists of marimbas and saxophones and the normal sort of band set up of bass and a lot of vocals. But its an album I got many years ago and it's really hard to find now... nowadays.. but it exists and err I just find it very tuneful and humurous. Like one of the songs is just the word "curry" repeated over and over again over this lovely riff of saxophones and marimbas playing together and steel drums. So it's just beautiful. It was sort of outside my sphere of music really so I don't know whether it inspired me in anyway to - for my writing but I just found it a comfort you know." Sonny Condell: Band on the Wall, Manchester, 20th September 2015 Taj Mahal: Music Fu Yah (Musicas Para Tu) released 1976 Tir na nOg https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_htn39r_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_8re5kbpf_mdflqt_MARCUS-MILLERwb2_William-Ellis_-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" released 1958 Marcus Miller https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_bnqual_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_8re5kbpf_yldqgf_STEFAN-GROSSMANwb_WILLIAM-ELLIS.jpg Stefan Grossman: Musician REV. GARY DAVIS: HARLEM STREET SINGER “Well I studied when I was fifteen years of age for about three years with the Reverend Gary Davis when he was living up in the Bronx. And his old recordings were not available then – the old 78’s had not been reissued, in fact practically none of the old blues material had been reissued. But he had made one record for Riverside which had one side of himself and the other side Pink Anderson . And then he made his first record for Prestige/Bluesville and that was called ‘Harlem Street Singer’ - and that was absolutely life changing for me. His guitar playing - his singing. And I would take that album and use it as source material for what I wanted him to teach me and then obviously he started to teach me many many other tunes that weren’t on that album. But that album was the lynch pin.” Stefan Grossman: Band on the Wall, Manchester, 12th April 2015 Reverend Gary Davis: Harlem Street Singer released 1961 Harlem Street Singer - bio movie Stefan Grossman About the album - by Matt Fink Digitally remastered by Phil De Lancie (1992, Fantasy Studios, Berkeley, California). Recorded during a three hour session on August 24, 1960, Gary Davis laid down 12 of his most impassioned spirituals for Harlem Street Singer. Starting off the session with a version of Blind Willie Johnson's "If I Had My Way I'd Tear That Building Down," here renamed "Samson and Delilah," Davis is in fine form. His vocals are as expressive as Ray Charles' while similar in richness to Richie Havens' work. Harlem Street Singer features his inspired country blues fingerpicking as well. Many moods color the selections, from the gentle "I Belong to the Band" to the mournful "Death Don't Have No Mercy," only to be followed by the joyous shouting of "Goin' to Sit Down on the Banks of the River." Overall, the collection is well worth the purchase and should be considered essential listening for fans of country blues or gospel. https://storage.neonsky.app/651h4emo/images/651h4emo_8re5kbpf_nvxytb_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_8re5kbpf_ardonq_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_8re5kbpf_ou5425_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://onelp.com/one-lploud--clear-edinburgh 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_9nm1gd_MOCLIGHTweb-c-WILLIAM-ELLIS.jpg ONE LP@LOUD & CLEAR, EDINBURGH | ABOUT View ONE LP@LOUD & CLEAR, EDINBURGH by ABOUT. https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_swrgfn_ACKER-BILK_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 https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_qcuy7q_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_gupyyqdg_ru7u3y_Anita_Wardelw__WEllis.jpg Anita Wardell: Musician ABBEY LINCOLN: IT'S MAGIC "It is so special because, as many people know, that Abbey Lincoln passed away earlier this year [August 2010] and I have always been really inspired by her. From a very early age, she was one of the – you know, after Ella Fitzgerald – she was the next person I really got into. So I am a massive fan of her and I’ve got all her albums. The reason I chose this is because I think this is one of the lesser-known ones but there’s beautiful tracks on here and the one that I really love is “Exactly Like You” because I listened to another version of this by Carmen McRae, which I love, and when I heard this version I loved this equally. You know, it’s the way her sentiment, the way she gets the lyrics across, are so different to a lot of other singers. She is very deep when she sings and you can really hear a lot of emotion. Not in the same way that you can with Billie Holiday but you know it’s coming from a real spiritual sort of place, when she plays and that’s why I love her." Anita Wardell: The Spa, Scarborough, 26th September 2010 Abbey Lincoln: It's Magic - released 1958 Anita Wardell https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_6l0nio_ANNIE-ROSSwb2_-WELLIS.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 released 1958 Annie Ross https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_1qje71_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_gupyyqdg_qh6g7o_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_gupyyqdg_dma40q_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_gupyyqdg_kijxmi_BENNY-GOLSONwb_WILLIAM-ELLIS.jpg Benny Golson: Musician Dizzy Gillespie and Dexter Gordon: Blue 'N' Boogie "Well - I've been around for a long time, and during the time when I got started there were no such things as albums so there were no covers! Cause there was a time of the 78 recording with 3 minute at tops for each recording, so whatever the person was going to present they had to present it within the 3 minute framework. Sometimes you didn't get the bridge of the song and they went out and things like that so they had to gear it for the 3 minutes and that's what I grew up with when I started that's what was going and later the 33 1/3 records came into existence - and they weren't 12 inch LPs they were10 inch LPs! And then later the 12 inch LPs came, yeah. And then later the albums came with the album covers at was much later though - it wasn't in the beginning! I had many heroes in the beginning, my first one was probably Coleman Hawkins and then Don Byas, Ben Webster, Lucky Thompson but then one that really got me down the line was a fella named Dexter Gordon. And he made a recording with Dizzy Gillespie and when I heard that my life changed again - it changed when I first heard the saxophone but when I heard that recording Dizzy Gillespie and Dexter Gordon it opened up something else for me cos his style was different from Coleman Hawkins and Don Byas and Ben Webster, it was another sound - even different from Lester Young. Like I said it opened my ears up when I heard that and I started trying to do other things because at that time I didn't have my own interpretation or concept - like money in the bank to reach in and do what you want to do, I had nothing in to reach in to get. So I was eclectic, imitating everyone - piano players, guitar players trying to understand what this thing called jazz is all about.Especially improvisation cos that's what jazz is all about. Nobody comes to hear the melody over and over again - after the first run of the melody they want to know what you've got on your mind musically! And you have to have something to say: you should have - and it takes a while to get to that point. Dexter had something to say in a little different way than the others, and to me, at that time - it's a long time ago - it was pretty hip, pretty hip. And from there you continue keep reaching - reaching then eventually you develop your own sound - whatever that is, and even when you develop your own sound and after a while maybe you even want to modify your own sound maybe wanna hear something else. Then you go through periods like Picasso did you know, like Cezanne came in: with the Cubism - then he went to pointillism and he went through many things. I saw some of the things that he did he did as a student and the anatomy was almost like a photograph - and then later he had one eye up here and one below and the nose over on the side and you maybe ths guy doesn't know anything about anatomy - he did - but he had a different perception as time went on. He went to pointillism which looked like little vertical scratches - I mean incredible what he did! And musically that's what we sort of do as we continue to reach. We think - while we're striving 'at this point' - whatever this point is, 'I'll be satisfied.' But when we get to that point somehow we're not satisfied - we're always striving to best ourselves - to get better at what we do, and to understand our selves better. Because what jazz is all about is improvisation and when you improvise you're bringing into existence things that had no prior existence - it didn't exist. Whether it's 2 notes or whether it's a whole series of notes - your playing them that particular way did not exist. So you have to have - imagination. If you are going to create something that had no prior existence you have to imagine things - because they don't exist! And that's like an adventure I fancy it's like a big game hunting like a safari but we're only we're not hunting live game - we're hunting new concepts - new ways of doing the old things, new ways of expressing yourself. These extrapolations sometimes are just as important as the new discoveries, because you're bringing new life to it and you're presenting it in another way, Dizzy Gillespie during that time when he was coming up, that's what he was doing - he took the old tunes like 'Whisperin' and putting another melody on the chords and calling it 'Groovin' High'. Tadd Dameron took 'What Is This Thing Called Love' put another melody on the chords and called it 'Hothouse'. So this is an exciting time - 'Ornithology' was 'How High The Moon' and then it went on from that to total different concepts, different titles and different melodies. In the beginning we used the old structures 'What Is This Thing Called Love?', 'Whispering' as time went on we did away with those and came up with our own concepts, that's how I came up with 'Whispering' - 'Stabemates' and whatnot. It wasn't 'What is Thing called Love?' any more - It was something entirely different, but we had to graduate to that point because we were going into areas that didn't exist - and we were like the pioneers goin’ into - opening doors along the corridor to see what's behind these doors. It was like an adventure everyday, couldn't wait to wake up to try again. What can I do today better than I did yesterday? Where am I going? You ask yourself all those questions - what is it I want ? What am I trying to achieve? And sometimes we didn't even know that. Everything was so new - so all those early days were like an adventure. And still today - I'm an old guy today - but I've still have my ears open and I still think there are things I would like to that I haven't done yet even in my old age you know And it's still has that sense of adventure to it - yeah. It's creating things - improvising - what you're doing on an instrument or pen on paper - which is a form of improvising. It's exciting and it's adventurous and I think I'm still a part of that because it still awakens certain things within me creatively and I don't want that to die - I don't want to lose that - if I lose that I might as well get a job as a wash room attendant or selling groceries. Yeah - I love this music called Jazz. And as Sonny Rollins said "There's no end to it." Nobody says - 'well I'm at the end of it and I don't need to study any more - I know all there is to know.' There is no such thing -and no one person knows everything,so we keep going ahead. Some of it's good, sometimes some of it's bad - stinko, and we reject it start over again but it's a great thing trying to arrive at these things. Oh yeah - and when you achieve it - oh it's like giving birth all over again, we wait in that maternity room and wait for the slap on the butt - it's alive! Yeah - it's an adventure of sorts - yeah - and I'm committed, I really am, and I guess like Sonny Rollins said "There's no end to it." They ask me a lot of times - "Mr.Golson - what is the favourite tune that you have written." And my answer's always the same "I haven't written it yet." There's always something to do." Benny Golson: The Royal Conservatoire of Scotland, Glasgow, 17th September 2015 Mr Golson cited a recording of Dizzy Gillespie with Dexter Gordon, I deduced Watson that it's Blue 'N' Boogie. The Dizzy Gillespie Sextet with Dexter Gordon released 1945 Benny Golson Special thanks to Tommy Smith for kindly arranging the session. https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_7xbp0w_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_gupyyqdg_5mlu99_CAROL-KIDDwb_WILLIAM-ELLIS.jpg Carol Kidd MBE: Musician THE TONY BENNETT BILL EVANS ALBUM "It's 'The Tony Bennett and Bill Evans Album' - two reasons - I adore Tony Bennett - and I adore Bill Evans! I found this album and the one song that absolutely touched me was 'Waltz For Debbie'. I think Bill Evans wrote it for his daughter. That song grabbed me on the whole album - so much so that I asked my piano player to do the charts for it and I started to perform it and I was able to record it myself which was a real joy. 'What kind of jazz album would you like? ' For me it would be a singers album. So that's really the reason I chose that one. WE Would you say that was a formative album for you? CK Oh it was definitely - I recorded that in 1986, so I was listening to that probably from the early eighties. That would be the album I would put on if I just wanted to sit back and relax and listen to this beautiful piano playing - he was adorable and Tony Bennett's amazing voice. It was a real inspiration for me, especially the fact that he was singing with just piano. I'd been tinkering around with the idea but as soon as I heard that I said 'I can do that - I can do that - I can do lots of songs just with piano. It was very inspirational." Carol Kidd: Glasgow, 8th October 2015 The Tony Bennett/ Bill Evans Album released 1975 Carol Kidd https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_lv0tx7_CHRIS-BARBER-wb_-WILLIAM-ELLIS.jpg Chris Barber: Musican BROWNIE MCGHEE: SING THE BLUES “Everything (every LP) I think of .. I would think 'Well I'm leaving that other one’.” “I know, but don't worry about that.” - WE “I do!” (laughs) - CB I think I've picked one.. yeah..., yeah.. it's an album by Brownie McGhee. Brownie McGhee - great Blues artist. He toured Britain and Europe with us and his working partner Sonny Terry played the harmonica, Brownie played the guitar, wrote the songs, and they toured with us, it's a wonderful memory. We've worked with a lot of Blues people. When they went back to America Brownie McGhee was scheduled to make a recording with a label called Folkways - very important label at that time which now belongs to the Library Of Congress. And he made a recording called 'Memories of My Trip‘ - it was a song about my band! It was very funny because the people who actually put the record together Folkways were used to dealing with people with all kinds of voices ... they got all our names wrong. The text - it was printed, and it didn't make any sense .. they had the names all wrong. For me it's a great souvenir because it's the only one of the Americans, and we've played with all kinds of people, who really kind of were interested totally in what we did. But then Brownie McGhee was unusual you see. He also came from the South and Brownie went to college, Brownie did English literature and his favourite author .... what's the poem .. Kipling... 'If'. Now Kipling was not a left winger (laughs) I mean he wasn't a bad man really but he was part of the establishment you know - the colonies and so on but Brownie could recite and he actually wrote a song which is based on the principle on rhyming in the way that 'If' does.... see? It was so nice because we'd played with Muddy Waters and all kinds of people who were very very important and who were very nice and we enjoyed playing with him. Back in America one time I played as a member of his band, he invited me as a member of his band at some gigs and I worked with Dr. John on recording I've done a lot of things with some very talented people, but Brownie was very special because he actually was thinking about it in a nice way - you know.” Chris Barber: The Sage, Gateshead, 6th April 2018 https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_7ncrsq__MG_9572CHRIS-POTTERwb_-WILLIAM-ELLIS.jpg Chris Potter: Musician DUKE ELLINGTON: ELLINGTON AT NEWPORT “I choose ‘Ellington at Newport’ - I wish I remember how old I was when I first got it - probably 11 or 12. I’m sure I can’t count the number of times that I’ve listened to it . It has the famous solo by Paul Gonsalves - 27 choruses on the blues on a piece called ‘Diminuendo and Crescendo in Blue’ And you can hear the people really start to go nuts and by the end of it, it sounds like there’s a riot and you can feel why because the energy is just relentless. But it was my kind of introduction really to Paul Gonsalves' playing who I’ve always really really love and there’s also an amazing performance of ‘Jeeps Blues’ which features Johnny Hodges - Jeep who was always one of my favourites. For me it’s just one of those really special records that was extremely important to me at a very early time in my study of the horn and familiarity with this music - so I know every note, and I love every note.” Chris Potter: Band on the Wall, Manchester, 15th April 2017 Duke Ellington: Ellington at Newport 1956 released 1956 Chris Potter https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_q2lklc_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_gupyyqdg_jifxl1_DARIUS-BRUBECK_WELLISwb.jpg Darius Brubeck: Musician ERIC DOLPHY: OUT THERE "Well actually when you introduced the project, I thought - 'I could really work at this - and that would be too much of a challenge!' Or I could just go with what popped into my head, and a very interesting one did. It's 'Out There' by Eric Dolphy. And the reason I think it was a very influential album for me was the instrumentation really. The unusual sonority of cello, bass, bass clarinet - when he played bass clarinet or flute, when he played flute and a little bit of alto but, you know, the changing around - and the cello. So no chord playing instruments as such but just the way those instruments resonated with each other and the way of playing in the kind of post BeBop style - but nothing very formal . You now when I talk about the instruments you might think of it as sounding more like one of the more formally arranged West Coast jazz things that were kind of in that third stream pocket or something - but it wasn't at all. It was actually very New York, it was a bit odd, a bit scratchy - Ron Carter on cello - playing and so forth. But it had tremendous time and feel and it created a sound Universe for me beyond what I thought of as the instrumentarium - the sound universe of straight ahead jazz and yet it didn't sound like a classical cross over kind of thing - like the things that you know - my father was doing with Leonard Bernstein or even Gunther Schuller. It was its own space. 'Out There' really influenced me to try and find those spaces myself." Darius Brubeck: The Spa, Scarborough, 27th September 2015 Eric Dolphy: Out There released 1960 Darius Brubeck https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_9ltksh_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_gupyyqdg_2l3995_GARY-CROSBYw_William-Ellis2599.jpg Gary Crosby OBE: Bassist,leader,producer,educator JOHN COLTRANE: A LOVE SUPREME “John Coltrane's '"A Love Supreme". I discovered it when I was about 21 and it was listening to that album that made me say I wanted to be a jazz musician - although I was already playing jazz before but I was fooling around - it was listening to that music. There were a few Coltrane albums I heard before that I enjoyed ...."Africa/Brass'"was one - but it was "A Love Supreme" that made me realise the depth, the breadth of this music .... yeah, and it's one of the great classics anyway of our music.” Gary Crosby: Llandudno Jazz Festival, 26th July 2015 John Coltrane: A Love Supreme released 1965 Gary Crosby OBE https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_1tvv24_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_gupyyqdg_u1day9_GILL-ALEXANDER-OLP-2wb_-WILLIAM-ELLIS-copy.jpg Gill Alexander: Artist, musician GERRY MULLIGAN: GERRY MULLIGAN QUARTET - VOLUME 1 “I had been brought up on classical guitar from the age of nine and then I had various stupid accidents to my fingers when I was about twelve which really ruled out classical guitar. I went on to harpsichord for about four years then I went to art school - Chelsea Art school, and I got into blowing instruments like, you know - clarinet and alto. And I started The Temperance Seven at Chelsea and was playing banjo - which was incredibly boring - so I left and of course they shot to stardom after I left (laughs). But I heard Gerry Mulligan - I think it was in the mid 50's - and that was just like a starburst. It was incredible because the music was without chords and I could hear these lines going along and it reminded me so much of the harpsichord music that I'd been playing. I rushed out and I bought this very ancient LP, which is all yellow as you can see. A favourite one on this LP is ‘Soft Shoe’. I do have another one, another LP somewhere which has 'Line for Lions' which I absolutely adore as well. It's so nice that I still have this LP and it's still playable. That just turned me onto modern jazz - straight away, I sort of never looked back - I didn't look back at Temperance Seven either! That's really how I sort of got into jazz in that way, but I didn't actually buy a double bass till I was about 25. It was my father who was always very interested in all instruments who told me that there was a shop in the High Street somewhere and he said 'Oh there's a double bass going there for £12.’ It was a little chamber bass with great thick strings which had all ripped and were very rough - gut strings - £12. So I saved up for this and I bought it. I think it was 1960 and I wasn't doing very well at all with my painting. I was, you know, quite desperate - I wasn't making any money at all. I was doing all sorts of jobs .. anything at all ... like sign writing or cleaning picture frames, anything at all. I was hardly making any money at all and starving away. So I was so thrilled to get this instrument. I just played and played and played. I put on records... played to records. And, of course, because my parents had always been interested in jazz and always used to play jazz on their gramophone I was interested in jazz and I could tell how many bars were in a 12 bar blues.... that sort of thing so I was able to hear the chords going and recognise a lot of the tunes on the LPs that I had. After a fortnight this friend of mine came, this guitarist, came along and he said ' Oh, there's an ad in this magazine I've got, it's called The Melody Maker, and somebody wants a bass player for a gig - for tonight'. So I said 'Don't be ridiculous I've only had this for a fortnight, how can I possibly...' He said ' Well it's worth 7 and 6'! - and that was more than I earned in the week before so I said ok. So the bass didn't have a cover, and I didn't have a car so I just got on a number 22 bus, with it standing on the platform and me holding it, and went to this place - Parsons Green I think it was - and went to this little hall and I played in this little band, a Dixieland band, and found the guys in the band didn't seem to know how long a 12 bar blues was. So I thought 'Well, if they can earn all this money and not even play properly I'll continue so I did - and that was it really!” We spoke a while longer - Gill recounted playing with many of the leading American musicians - including Sonny Stitt. “He wore a huge white stetson and drank lots and lots of water - I think that’s what killed him!" Mr. Stitt had given up alcohol. Gill Alexander: At home, Needham, 23 February 2016 Gerry Mulligan: The Gerry Mulligan Quartet Volume 1 released 1952 Gill Alexander-Levin (Artist and Tithe Barn Music/Arts venue, Norfolk) https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_8uhwr1_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_gupyyqdg_m519c9_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_gupyyqdg_vq64zt_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_gupyyqdg_3wum5y_JACOB-COLLIER.jpg Jacob Collier: Musician KEITH JARRETT: FACING YOU "So this album is a Keith Jarret album called Facing You. It's his first solo piano album ever and obviously we know Kieth Jarrett as a solo piano God almost. You know he had this whole genre he almost created in the 70's of improvising concerts came - I feel like, from this album. But this album is essentially a series of short pieces, you know, short compositions that he composed. I think it was released in 1972. It's his first time with ECM and for me I feel this rush of youth from Keith Jarrett in this album and obviously Jarrett's had a very long career - but there's something about the way he plays the piano for me which has defined my own piano playing. But this rush of ideas - of possibility - of taking risks -of stretching time -of experimenting with articulation and sound but it's such a vivid album. It has such a vivid taste in my mouth - and I think yeah for me as a lover of music for flavour that is one of those flavoursome recordings I've ever heard and it stays with me. I keep returning to it cos it's such a special one." Jacob Collier: Band on the Wall, Manchester, 30th November 2017 Keith Jarrett: Facing You released 1971 Jacob Collier https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_9csafm_JEAN-TOUSSAINTwb_WELLIS.jpg Jean Toussaint: Musician JOHN COLTRANE: LIVE AT THE VILLAGE VANGUARD 1961 "It's Coltrane - 'Live at the Village Vanguard' - the one from '61. And, you know, it's special because when it came out I think he was constantly blowing everybody's mind but when he brought this out he blew everybody's mind! And you know - and their mother and father and grandmother, you know (laughs). He just rewrote the whole thing - playing the saxophone like that and leading the band like that was never done until that record. That was the template for like hot modern jazz from the 60's, you know, and up until now. It's for me that's the height of the music you know and nobody has gotten that kind of playing to that level as yet, in my opinion you know. that's just - it's all - you know - it's one persons opinion - so a lot of people might disagree you know. So, but that's it - that's why. And it's what he's doing with the blues - what he's doing with the modal thing that he got from Miles - it's where he was taking it. He was taking it elsewhere you know. He was just going into all the different places that we who followed is attempting to continue and develop and go into there, you know, but him, Elvin, Jimmy Garrison and McCoy Tyner they were doing that in 1961 you know. They started that ball rollin' for me, you know, and that's why I love it." Jean Toussaint, The Spa. Scarborough, 26th September 2015 John Coltrane: Coltrane "Live" at the Village Vanguard released 1962 Jean Toussaint https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_v9xg3w_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_gupyyqdg_e635ei_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_gupyyqdg_w3y35k_JOHN-MAYALLwb_-WILLIAM-ELLIS.jpg John Mayall: Musician CRIPPLE CLARENCE LOFTON: JAZZ IMMORTALS WE - Mr Mayall - we've got a Cripple Clarence Lofton album here and I wonder why is his records are so special to you? "Well it was just a very different kind of style he had and err you know that was the only album you could get at the time. So, you know, he didn't make too many other songs than the ones that are on there. So definitely a good 'un." WE - Would you say that he was a formative influence on you getting into the career that you took sir? JM - Not necessarily but he was certainly an influence on sort of the ideas that, you know, that I tried to do myself." John Mayall: Bridgewater Hall, Manchester, 21st November 2017 Cripple Clarence Lofton: Jazz Immortals 1 - 10" vinyl. Release date unknown John Mayall https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_hadn57_JON-HENDRICKS2wb_-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. WE - "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.” WE - “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 - the peerless 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 have been working on a major piece based on Miles Ahead which will be performed by the London Vocal Project in New York and London. More Roy DeCarava https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_k2hn3h_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_gupyyqdg_22i9wm_MARCUS-MILLERwb2_William-Ellis_-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" released 1958 Marcus Miller https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_nq1874_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_gupyyqdg_u55rwb_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_gupyyqdg_yy8vbi_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_gupyyqdg_f5mwtq_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_gupyyqdg_p238u4_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_gupyyqdg_x6tjqu_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_gupyyqdg_xizwu9_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_gupyyqdg_sxym0y_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_gupyyqdg_pdv7xz_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_gupyyqdg_zofbdu_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_gupyyqdg_k3y8z3_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_gupyyqdg_0ci2yo_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_gupyyqdg_507uyt_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_gupyyqdg_zwn128_TINA-MAYwbFF_-WILLIAM-ELLIS.jpg Tina May: Musician ELLA FITZGERALD SINGS THE DUKE ELLINGTON SONGBOOK “I can remember a light bulb moment when I heard it, I was about seven and it was an LP ... A double LP .. of "Ella Fitzgerald sings the Duke Ellington Songbook", with Duke Elongton big band and everything, all the stars in that band. And I'd never heard anything like it. And hearing the track that really changed my life, that made me want to sing like that - ‘cos I'd never heard anything like it was "Take The ‘A’ Train". And she's doing, you know, train noises (sings train noise) and and you think 'What's that!’. And I made my mum play it like ten times in a row and , you know, yeah absolutely life changing album and I still love it, and I always think well it's so personal - your musical journey. Earlier on my dad, who loved to play stride piano himself, turned me on to Fats Waller and I love Fats Waller and I loved his humour. But for the female voice it's always been Ella for me, and I love Ella and that was the defining moment - ‘Ooh I like this I want to be part of this' you know.” Tina May Royal Northern College of Music, Manchester, November 1st 2017 Image courtesy of the RNCM One LP Series Ella Fitzgerald with Duke Ellington and Orchestra: "Ella Fitzgerald Sings The Duke Ellington Songbook" released 1957 https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_m4n0x6_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_gupyyqdg_rf5299_DAVID-LIEBMAN-wb_-WILLIAM-ELLIS-copy.jpg David Liebman: Musician, educator MILES DAVIS | GIL EVANS: SKETCHES OF SPAIN “The album is “Sketches of Spain” - Miles Davis in collaboration with Gil Evans, and the reason that I love it so much is because it goes beyond music, beyond idiom, beyond style - and even beyond Spain even though it’s dedicated to the culture of Spain in a certain way. There’s just a feeling on that record between the writing and the way Miles plays that’s just the universal cry of blues, of joy, of humanity and everything .. I mean I get a feeling from that record beyond category and beyond vernacular .. it’s not even jazz it’s art at it’s highest level. I’ve recorded “Sketches of Spain” and played it many times and its a very challenging piece of music, Miles just handles it with such grace and so much class the way he plays the music that .. if it was only that it would have been a great piece - but the writing is great and Gil Evens .. I mean they surpassed themselves on that record for me.” David Liebman: Jazz Standard, New York City, 5th October 2018 Miles Davis/Gil Evans: Sketches of Spain released 1960 David Liebman https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_q3kekk_DONNY-MCCASLINwb_WILLIAM-ELLIS-copy.jpg Donny McCaslin: Musician JOHN COLTRANE: A LOVE SUPREME “Well this is "A Love Supreme" by John Coltrane. And I just remember being so taken with this record when I heard it. There’s just a deep sense of expression coming from him and the whole group, you know ..its .. they’re kind of at their zenith in terms of their inter play and there’s the depth of his playing ... is just stunning. The combination of emotion and sophistication and soulfulness and rhythm. I mean it’s just everything that’s so compelling about music you know and the message of this record being, you know, so connected to the Devine. Such a passion filled record but also there's so much contemplation in it. I just sort of hear the sort of yearning and the reaching out to The Almighty. So it’s just one that I’ve listened to over and over and over again. It never fails to inspire me.” Donny McCaslin: Band on the Wall, Manchester 30th October 2018 John Coltrane: "A Love Supreme" - released 1965 Donny McCaslin https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_t3j9r5_FRED-HERSCH-3466wb_-WILLIAM-ELLIS.jpg Fred Hersch: Musician GLENN GOULD: PLAYS BACH - THE SIX PARTITIAS "Well, I had a short list of four - five actually, five. One is 'Glenn Gould Plays Bach' and you can see from the rather beat up condition of it. It was a gift to me when it new and I can look at the year, but I was probably not more than six or seven years old when I received that - and it's probably scratched to shit. But it really awakened my love of counterpoint and moving voices - and just Glenn Gould's sense of rhythm is so astonishing and you can't say that about certain classical pianists, they don't really. There's just a joy in his playing. And then Miles Davis 'Friday Night at The Blackhawk. When I listened to that record - that's when I decided I wanted to become a jazz pianist. I loved the fact that it was live, the way Wynton accompanies Miles is incredible - the sense of swing, the fact that it's a live album and wasn't edited in the studio - you really hear the whole performance. I love that it was Miles's debut with this band it's the first time they'd ever done a gig and he had the balls to record it and put it out. You know - that's the kind of person he was. Other album? Sonny Rollins Trio - 'Live at The Village Vanguard' with Elvin Jones and Wilbur Ware which I think is kind of the definition of what modern jazz is, and I've listened to that - I think there's two volumes, I've listened to them I don't know how many times - I tell every student I have 'You have to listen to these - this is what jazz improvisation is.' Joni Mitchell's 'Blue' album. You know, that in a weird way led me toward jazz trying to figure out what the chords she was playing were because they weren't major, they weren't really minor. To a high school ear they were very mysterious. Just the way she tells stories and I've set a lot of text and she's kind of my guru for how to take a complicated text and make it understandable - set text. The other album was 'Mingus Mingus Mingus Mingus Mingus' which is, to me, - I've sort of talked about it as kind of like Duke Ellington on acid. It's kind of a mid sized ensemble and the way Mingus and Dannie Richmond play together is kind of miraculous, and Jaki Byard is on it and I eventually studied with Jaki Byard. So these were the five. I will probably pick ‘Glenn Gould plays Bach’ in the end. You know Bach is the composer that everybody loves - first of all.- you can’t not love Bach. There’s not only the most sublime craftsmanship but, as they say, he wrote for the glory of God. Nobody commissioned him to write these piano pieces he just did this because this is what he did. And he had twenty two children and he wrote with a quill and ink and no copying machines and no music notation software - and candles ... and he created all this universe. I think probably a distinctive feature of my jazz playing is its contrapuntal nature and it was really launched by not only listening to these albums, this three disc set I think, but by playing those pieces and understanding how three independent voices can be a whole universe. The other reason that musicians love Bach is there are no dynamic markings, there are no tempo markings, very rarely there is a slur or an articulation marking but pretty much you have to do it all yourself and there’s no one correct way to do it. When you’re playing Bach you decide how you’re going to articulate the theme if it’s a fugue. Nobody can tell you that’s right or wrong, and as long as you make a case for it - that this is the way you hear it and you’ve really thought about it and you can execute and sell your performance. It’s like there’s no perfect Hamlet or there’s no perfect version of 'Autumn Leaves'. There are many possible versions, it’s just - they’re templates for whoever inhabits them and I think Bach’s music is universal in that way. It’s the music that I always come back to. So I think that’s what I’m gonna pick." Fred Hesrch: At home, New York City, 3rd October 2018 Glenn Gould Plays Bach: The Six Partitas, The Two and Three Part Inventions Fred Hersch https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_vih5m4_JOHN-BEASLEY-OLPwb_-WILLIAM-ELLIS.jpg John Beasley:Composer, pianist, arranger, producer THAD JONES, MEL LEWIS J.ORCH: CENTRAL PARK NORTH "This is Thad Jones Mel Lewis Jazz Orchestra 'Central Park North' - this record totally changed my life. I was listening to Blood, Sweat & Tears, Hendrix, The Watts 103rd Street Rhythm Band, Earth Wind & Fire - bands like this and my dad brought home this one day for my birthday. I was playing in bands. I was really into music but, you know, he brought this and I just stared at the front of this and just listened and read these liner notes over and over again. And it set me on the road to want to become an arranger and a jazz musician. I would play to the record - at that time I was playing saxophone, a little guitar and drums and I would pretend in my bedroom - pretend like I was in this band. Just totally make believe. Yeah ... that’s this record for me. I wouldn’t be here right now without this record." John Beasley: The Eli and Edythe Broad Stage, Santa Monica CA, 12th October 2018 Thad Jones - Mel Lewis Jazz Orchestra: Central Park North - released 1969 John Beasley https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_i6115d_KENNY-WERNER-OLP-wb_-WILLIAM-ELLIS.jpg Kenny Werner: Pianist, composer, author, lecturer MICHEL COLOMBIER | WINGS “Well, its called “Wings” and its by Michel Colombier he was a movie (score composer)… he did a few jazz records too and Herbie Hancock and those guys played on it …but he did a lot of movie sound tracks but he and Herb Albert became tight and Herb wanted him to do a record that was like .. expressed the whole world ..and it is. I’s a blend of pop feeling of the time …1970 but Stravinsky, Brazil '66, The Beatles ..but none of that at the same time. It’s just one surprise after another. It’s very dramatic and it is my favourite record. It’s a flow of ideas from different types of sounds but he almost outdoes everybody that it’s derivative of ..it’s amazing.” Kenny Werner: Jazz Standard, New York City, 5th October 2018 Michel Colombier: Wings released 1971 Kenny Werner https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_7pq4tt_TERRI-LYNE-CARRINGTON-wb_-WILLIAM-ELLIS.jpg Terri Lyne Carrington: Musician WAYNE SHORTER: JUJU “There’s so many of course, I guess one that just came to my mind is “JuJu” by Wayne Shorter - there are so many amazing songs on that record .. on all of his records. But for the classic Wayne Shorter records, I love that one. And ‘Infant Eyes’ (on "Speak No Evil") for me, that’s one of the most beautiful songs ever written. Also love “Deluge” and “JuJu” and ”Twelve More Bars to Go”. All of them – it is such a strong collection of songs and the playing is just unbelievable. Wayne’s sound on “Infant Eyes” (on “Speak No Evil”) is so special. I mean it’s easy to fall in love with Wayne in all of his different incarnations, but the sound that he gets when he’s playing a song written for his daughter when she was very young or recently born… you can hear that in that melody. That album really captured an incredible moment in Wayne’s career, it’s just amazing.” Terri Lyne Carrington: Jazz Standard: New York City, 5th October 2018 Wayne Shorter: "JuJu" realeased 1965 Wayne Shorter: "Speak No Evil" released 1966 Terri Lyne Carrington https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_koo1qb_TIERNEY-SUTTON-wb_-WILLIAM-ELLIS-copy.jpg Tierney Sutton: Musician NANCY WILSON/CANNONBALL ADDERLEY “I’ve been thinking about "Nancy Wilson and Cannonball Adderley”. That album, which was one of Nancy’s first break out records and I think one of her finest. It had a huge impact on me. It was one of the first vocal jazz records that I really obsessed over and that’s interesting because half of the record is not vocal. Half of the record is Cannonball and Nat Adderley playing instrumental music with the band. And I of course enjoyed that every bit as much as Nancy’s vocals. So it was sort of something that brought my mind into the world of how a singer interacts with instrumentalists and how that could be something new to my way of thinking because I was raised in a world of musical theatre and classical music and Broadway where the singer is kind of the singular “star”, apart from the musicians... But Nancy is so integrated and the tone of her voice is so horn like and her phrasing is so wonderful. I mean I just memorised every lick from that record and actually in my very first recording, the very first track was “Old Country” and its basically completely derivative - and even Carol Sloane wrote a review of that record way back when and she said .... she was very approving of it but she said - ‘it’s surprising that I’m praising it because the first track is just derivative and just nothing new’. And the reason that it wasn’t is I can’t resist singing these songs the same way Nancy did o that record. In fact that’s true of a lot of Nancy Wilson recordings that I love ... there’s little licks that she does and I can’t go anywhere but there and so I’ve avoided recording those songs ever since. That shows how deeply it affected me.” Tierney Sutton: At home Los Angeles, 16th October 2018 Nancy Wilson/Cannonball Adderley released 1961 Tierney Sutton https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_hge2b1_VINCE-MENDOZA-OLP14wb_-WILLIAM-ELLIS.jpg Vince Mendoza: Conductor, arranger, composer THAD JONES MEL LEWIS JAZZ.ORCHESTRA: POTPOURRI "Well this is the album called Potpourri from Thad Jones and Mel Lewis orchestra. And this record, for me, came at a time in my development as a musician that - I was a young trumpet player, an aspiring composer, living out on the East coast and the lure of course of New York and the sound of New York. Tthe studios, the musicians living there was very strong to me: but also just in terms of how I was going to shape my voice as a composer and what my records could sound like, all appeared on this record for me. And the idea that, if you know the history of the band and how it started out with Thad and Mel as a collection of New York musicians that wanted to try something new - you know, to be together and play and the organic nature of how that group came about. I don't imagine that they had any idea of how iconic the sound of the band would be with Thad's writing. But it's really the essence of what we all aspire to as jazz musicians, to bring together great musicians who have a similar point of view. To bring together a vision of improvisational music and put it on record. And so that was, for me ... this record was an example of what a record could sound like, what a band could sound like. And most importantly how we can take a traditional ensemble, a traditional style, and make it so unique and open the doors to what the future could sound like. And that was a very important moment for me with this record. And so, the pieces in particular, the way that Thad writes expanded forms and how he of course voices the chords in the band and how he writes in a very linear fashion, which has been a sort of banner that I've been carrying for many years as a more linear approach to writing for big band. And he was a perfect example of that at the time. Then the rest of it of course is the people on the record and ... so many great players and soloists and then they all had a way of shaping this orchestra in such a unique way. Do you know this record? There is one ballad on it that I just ... It's called 'All My Yesterday's. Jerry Dodgion plays the solo on it and it's such a beautiful, beautiful ballad. Quintessential Thad Jones writing and lyricism, you know. And maybe the thing about this record is that it's a perfect combination between rhythmic vitality and lyricism and that's the thing that made the light go on for me." Vince Mendoza: At home Santa Monica CA, 12 th October 2018 Thad Jones Mel Lewis Jazz Orchestra: Potpourri - released 1974 Vince Mendoza https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_94vngw_MOCLIGHT2web-c-WILLIAM-ELLIS.jpg ONE LP@LOUD & CLEAR, EDINBURGH | ABOUT View ONE LP@LOUD & CLEAR, EDINBURGH by ABOUT. https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_h31j2v_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_gupyyqdg_9sqppk_BOB_BARRY__William_Ellis-1w.jpg Bob Barry: Photographer DAVE BRUBECK: TIME OUT "Well, it’s Dave Brubeck’s Time Out album and I remember hearing it in the… was it the late ‘50s, early 60s? – I’m not even sure now – but it was in that period and I remember how the time changes and it was just one of the most amazing things I ever heard. I had never heard music played like that. I was amazed. I remember hearing “Strange Meadow Lark” which was one of the other tunes on there – there was “Take Five”, “Blue Rondo à la Turk” and a number of others but “Strange Meadow Lark” just profoundly struck me. It was like one of those songs that you remember for the rest of your life and it makes you feel something that you were feeling, in my case, maybe 50 years ago… or more. I just loved it. I just loved it. It was a changer for me – it was an earth changer in terms of my feeling about music. I’ve always loved it; I’m a big fan of Brubeck’s and I actually met the bass player Eugene Wright not too long ago and we talked about the album. It’s just a great album. It was like a pivotal point in American music, for me. In those days you didn’t say “hip” you said “hep”. Haha. Yeah. The Brubeck album was like the coolest thing I had ever heard in my life. It was just so way ahead of its time. I’d never heard any sounds like that before ever in my life. It just put a hook in me and I was a believer – I was a total believer." Bob Barry: At home, Hollywood CA, May 2013 Dave Brubeck: Time Out 1959 Bob Barry https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_aqemb4_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_gupyyqdg_pkucrp_BOB-KOESTER1w_-William-Ellis.jpg Bob Koester: Founder Delmark Records JUNIOR WELLS: HOODOO MAN BLUES Bob Koester talks about Hoodoo Man Blues, his life in music, the ins and outs of running the longest established independent American jazz and blues label. BK: That’s paradise. It’s freezing. We had a lot of snow a couple of days ago. WE: I was here actually. I got in on Sunday night from Los Angeles… BK: Oh I see. So you saw a little bit. WE: ..and it was chucking it down when I landed. BK: Maybe the last of the year [knocking sound]. That’s not wood though, that’s plastic, so that doesn’t count. WE: That’s wood. BK: Good to have a wood desk, that’s true. WE: I love all these as well. These are amazing. (rare 78s) BK: That’s a bunch of stuff we just bought. We keep them naked until a couple of regular customers see it so they know that there are new arrivals. WE: To check the condition. BK: Sure. WE: How long has this shop been here, Bob? BK: I’ve been here for 10 years. I was upstairs for 5 years. I was a block and a half away from 1962 and I have been in the business 61 years. WE: Wow. BK: I started in St Louis. Actually a little before I had a shop, I sold records out of my dormitory room at St Louis University for a year, mostly by mail. And then we opened a store, me and a friend. My friend collected Ellington and Billie Holliday and didn’t like any other jazz. He liked sweet bands so we only had to fight over two artists’ records. WE: Which jazz do you prefer, Bob? BK: Well, I like everything from early New Orleans jazz up through swing. Bebop I can understand now. The avant-garde, I record a lot of avant-garde on Delmark but it’s not my favourite music and I can’t say I understand it all but jazz changes over the years. As it goes from place to place it changes. Even in the traditional jazz era there was Chicago style, New Orleans style. Almost every major city had its own style of trad. I call it trad, I don’t like the word Dixieland. It’s basically…it’s seems vaguely racist somehow, I don’t know. Maybe a putdown, you know. But the south has done a better job of recovering from segregation than some major cities in the north so Dixie is not so bad maybe anymore. The record you have photographed – Hoodoo Man Blues by Junior Wells – was, well, I started recording blues back in St Louis in early ‘60s and we’re best known as a blues label. We have a little over 500 titles in our catalogue and a little less than half of them are blues – around 225 blues records. Bunch of trad. Bunch of modern. A few big band records. Quite a bit of avant-garde lately. The Hoodoo Man Blues was the first time a Chicago Blues Band went in the studio to make an LP, to not be confined to 2 minutes and 45 seconds or 3 minutes and 45 and I didn’t even realise that until about 20 years ago that we had a first, I have to say, Chicago working blues band because Muddy Waters did a few LPs with studio groups prior to that. There might have been some others that I can’t think of right now. It has been a major seller for Delmark. It won a Grammy as a classic blues record. Memphis Blues Organisation gave it an award. Quite a lot of good reviews. Sold…I don’t really know I think we’re approaching a third of a million, maybe half a million since 1965. That’s 40, almost 50 years. More than 50 years. Like the year before last, we sold 2000 LPs and 4000 CDs but that was a little more than usual. Usually, it’s 4 and a half, or 5 thousand but that year we did an expanded CD version of it, and raised the price a little bit. That’s about all I can say is that I can’t take much credit for how good it is because I just watched while Junior Wells produced it. It’s got Buddy Guy on it, by the way, who was Junior’s guitar player at the time although he had made records on his own. But that’s not unusual for sidemen in bands to have records on their own. And the story I sometime like to tell is Buddy didn’t wanted to ruin a little relationship he had with Leonard Chess at Chess Records so he said “maybe I should call Chess and see if it’s ok for him to be on the record”. Chess said [imitates voice] “OK. But he does his thing and you don’t use his motherfucking name” or maybe “the motherfucker better sing but don’t use his name”. So the first 7000 copies which covers the first 4 or 5 years, he is referred to… Well, there was a British chap working for me. A British guy, I should say, working for me. And I said, “what’s a good pseudonym for Buddy Guy?”. I thought I’d let him come up with a pseudonym and he said [British accent] “Well, a buddy is a friend and a guy is a chap so why don’t you call him Friendly Chap”, which we did. His name was Peter Brown. He later put out some reissued records in Englend, when he went back to England. Worked for me for a year or two, I think. Good man. Really good man. In fact, we had three Brits in a row, one of whom was somehow in the royalty. They had some deal over here where they didn’t have to pay income tax for a year and they took full advantage of that. Wait a minute, was there another one? Yes. Another guy. Man, I had a stroke 8 years ago and I fucked up my memory. He’s an active musician in New Orleans. Oh no, he’s from Sweden! But we’ve had several guys from other countries work here. So Junior was not as well-known then. He was known to blues collectors but in 1965 most of the interest in blues was in country blues. It started in New York where they didn’t have very many blues artists. They had Brownie McGhee and Sonny Terry. They had Lead Belly until he died. They had Reverend [Gary] Davis, who was a street-singing gospeller, and they had Champion Jack Dupree, a piano player, and that was about the whole blues scene they had there. Brownie McGhee and Sonny Terry dominated and most of the criticism and most of the writing about music did not pay much attention to blues. A few enlightened, mostly traditional jazz people, were into blues and people like Hugues Panassié were into blues in the late ‘30s and between Panassié and the British just about everybody I recorded, and anybody you can name, went to England. Chris Barber had a lot to do with that. He would take a blues artist and tour him in England for a month and several of the guys he pulled over there, piano players, Jack Dupree and Eddie Boyd and I can’t think who else right now but several of them moved to Europe. They couldn’t move to England because it’s very hard for musicians to move there from any other country but Chris deserves a lot of credit for that blues revival. He was bringing blues artists over, I think, just about as soon as he split from the guy whose band he was with. I forget the other guy’s name, but he was a member of the band and the whole band pulled away. Anyway, there was this relationship between traditional jazz bands and blues and it gradually built up. In the early ‘60s, there was a big rock thing here. I’m sorry, not rock, folk music and Peter Seeger had all kinds of groups, some of them pretty terrible. Groups of more than two people tended to be pretty showbizzy but that developed an interest in blues on the part of a lot of young Americans. They could go from Peter Seeger to Brownie McGhee to Big Bill Broonzy and once it got to Broonzy they were in the Chicago thing because he was the king of the Chicago blues back in the ‘30s and ‘40s. Then pretty soon, it was like Muddy Waters. Well, Muddy would bring his band to gigs and well, we don’t want the band we want just Buddy and a harmonica player, you know, but they got the band and until Dylan used a blues band in one of his appearances at Newport and they put him down for that. It was a white blues band, the Paul Butterfield Band with Mike Bloomfield. They put him down for that. It’s sort of interesting when Muddy Waters first went to Europe the Europeans hadn’t quite got into the city blues bands to the extent that they did pretty quickly. But Muddy went to Europe and he played acoustic guitar. He didn’t like it but that’s what they wanted. Then the next year he went over and he had a nice acoustic guitar instead of borrowing one which he did the first time and they said “Where’s the band?”. They had changed that much in one year. WE: I guess it’s kind of the whole, like the Yardbirds, John Mayall, the British bands. BK: All that came out of…the Beatles started…Well, there’s a thing. Chris Barber in between sets would switch from trombone to bass. The drummer would switch to washboard and the guitar player, who had a major hit here and you know his name better than I do because I can’t recall it, would play guitar and they would do blues and call it skiffle. And as you probably already know, the Beatles began as a skiffle band, influenced by Chris Barber. Chris would do that between sets at gigs and concerts and then he would bring on the blues artists and then they would play with the blues artists. Chris had a hit over here and doesn’t play trombone on it, he plays bass. And I can’t exactly remember his name now. Very embarrassed, because he had a bigger hit. Bob Koester: Jazz Record Mart, Chicago, April 2014 Junior Wells: Hoodoo Man Blues, released 1965 Junior Wellls performs Hoodoo Man Blues Bob Koester: Founder and record producer, Delmark Jazz Record Mart - the world's largest jazz and blues record store. https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_oi4wpm_BOBBY-KONDERS-OLPWB_-WILLIAM-ELLIS.jpg Bobby Konders: Massive B Records/Sound Sytem SAMMY DREADLOCKS: M16 “Well you know what you said to bring a record and I wanted to bring a dub plate because a dub plate signifies a lot of my life of -you know, voicing artists. Not only for the Master B Record label but for Master B Sound System over twenty five years ago. Starting with Barrington Levy, Super Cat, Buju Banton and so forth. Nicodemus and Half Pint. And so many more. I brought the Sammy Dreadlocks dub plate with me and just the fact that it's a ten inch acetate dub plate and it kind of signifies if you know anything about me you know I love foundation reggae, I love rub a dub reggae and just the fact that we used to have to work so hard to get money to voice these dub plates and pay them. It wasn't like downloading an MP3, you know, you had to fly Jamaica go to the studio, voice the artist, mix the dub plate and then cut it on acetate, ten inch lacquer you know. Whereas with the record label you'd have to build the rhythm, voice the song, mix the song, master the song. And when you master it you make probably the seven inch lacquer in which they make the metal plate off of and they press the record. Cos you know I have my own label and they used to press in Jamaica, and I pressed in Tennessee and in Pennsylvania and everything so. It's been blessed because I've been fortunate enough I've met most of my heroes, voiced them on dub plate or I've voiced them on my label you know so it's great. Hope I answered that good. Sammy Dreadlocks M16 and this is basically years ago when we were cutting dub plates there was a style amongst the sound systems where top sounds would have their own sleeves and being with Massive B I printed these, I think, in Jamaica. We had our logo and our little character on it that was on the record label. Massive B was the records and you know you leave space to write the artists name and so forth and it's you know - doing what you love.” Bobby Konders: Brooklyn, NY, 7th February 2019 Sammy Dreadlocks Bobby Konders https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_j4eyzy_SISTER-CAROL_wb_-WILLIAM-ELLIS.jpg Sister Carol SISTER CAROL: BLACK CINDERELLA “First of all blessed love and greetings William. Greetings to all the ones who are tuned in here and now and that will be tuning in later on. I am Sister Carol the original Roots Star out of Kingston Jamaica, yeah. And I brought here with me today my second album entitled “Black Cinderella” on the Jah Life record label. And this record means a lot to me because not only the song - my very first single that debuted me to the world, it's also the name of the album and it's also personifies who Sister Carol really is as a “Black Cinderalla,” The Goddess within this time, You know, and like I said its my record label 'Black Cinderella', my clothing line “Black Cinderella”, my production company “Black Cinderella” and I also have a sound system that I'm now playing called Cinderblack. This record it means a lot to me, you know, and I brought it here today to be a part of the One LP vibration because not only it’s a classic but it's really a true collectors item. And something that I'm really proud of and this was thirty five years ago and thirty five years later we can still look on it and say wow the work still stand up strong’, fresh, vibrant, full of message, full of vibes, same energy that transcend from that time to this time. So I give thanks, yeah - Black Cinderella.” Sister Carol: Orcho Rio, Jamaica, 18th February 2019 Sister Carol https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_l94zdg_CHARLES-MCPHERSON_wb-c-WILLIAM-ELLIS.jpg Charles McPherson: Musician, composer DUKE ELLINGTON: FAR EAST SUITE “Well, first of all, I love Duke Ellington. I love the way he writes I love his concept of a big band - what to do with them, how to use them. I love everything about him - his voicing, so anything by Duke Ellington is a gem as far as I'm concerned. Now, that “Far East Suite” for me occurred many many years ago, so much younger at that point. I guess, it just had a real impression on me the way that he would take themes and make and them his own. So I mean, he's taking some of the scales and some of the nuances of of Far Eastern music and actually the way he voices, the chords, how he forms the nuances of that part of the world's music and scales, and how he uses them in a jazz context and in his context is just very creative. And so that's one of the things impressed me, along with other albums as well. Another thing at a very young age - even younger than that was when I heard Charlie Parker play "Tico-Tico" which is part of a series of records that he made that he entitled “South of the Border.” And those were impressive too, and this is I'm 14 -15 years old, when I heard those things. Now Duke Ellington, the “Far East Suite” - I was much older at that point and of course, heard many other things by Duke Ellington. It was recorded really well, just technically for that time period, the band was great and the music was interesting, a little different. Yeah, so there's some really beautiful tunes on there.” Charles McPherson: Pizza Express Jazz Club, London, 31st October 2019 Duke Ellington:"Far East Suite" released 1967 Charles McPherson <iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/734662732%3Fsecret_token%3Ds-59Y5k&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/wellis" title="wellis" target="_blank" style="color: #cccccc; text-decoration: none;">wellis</a> · <a href="https://soundcloud.com/wellis/charles-mcpherson-mp3/s-59Y5k" title="CHARLES MCPHERSON.mp3" target="_blank" style="color: #cccccc; text-decoration: none;">CHARLES MCPHERSON.mp3</a></div> https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_0sdnwe_DAVE-PEGGwbWILLIAM-ELLIS.jpg Dave 'Peggy' Pegg: Musician NICK DRAKE: BRYTER LATER “Well, it's Nick Drake and it's a record called 'Bryter Layter' which is spelt Layter. and Nick was - when I joined Fairport in 1969, Fairport Convention, Dave Mattacks the drummer and myself we started doing a lot of sessions for other people in the kind of folky kind of cannon, if you like. Because our manager Joe Boyd was also a record producer and so he would ask us to play on records by people like John Martyn, Sandy Denny obviously and, you know, other people like Ralph McTell and we played on so many different albums but Nick - this became a very special recording. It's my favorite album that I've ever played on I think. Not just because Nick sadly isn't with us anymore, you know he died a couple of years after that album was made. But it's a lovely album and I have great memories of being in the studio at Sound Techniques with John Wood, who was a wonderful recording engineer, and playing. The album was made by Nick - he was playing and singing more or less live in the studio and it was just like myself and Dave Mattacks or sometimes it was Mike Kowalski who was an American drummer who played with the Beach Boys - I think he still does. And then there were some overdubs by Richard Thompson. It's an album that's got a real kind of quality of it's own in terms of sound and in terms of atmosphere, which is why it's still a really relevant album. It's sold consistently over the years and it's not just people of my generation who love it - it's young people as well. I meet a lot of young kids who go 'oh it's an honour to meet you because you played on Bryter Layter' It's one of my favorite albums - it has a quality about it. A great longevity which I hope it will go on and on. It's an iconic album you know.” Dave 'Peggy' Pegg: The Citadel, St Helens 26th November 2015 Nick Drake: Bryter Later released 1971 Peggy Pegg - The Dylan Project Fairport Convention https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_byv7yt_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_gupyyqdg_re995j_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_gupyyqdg_2ppmqc_DOM-FLEMONSwb_William-ELLIS.jpg Dom Flemons: Musician LEADBELLY: THE LIBRARY OF CONGRESS RECORDINGS “Well the album that I decided to choose was one called 'Leadbelly, The Library Of Congress Recordings'. And it was put out by Electra recordings and there is a three record set. When I picked it up it was actually in connection with Woody Guthrie ‘cos there's another companion set that's called 'Woody Guthrie The Library Of Congress Sessions'. It has a really great charcoal drawing on the cover and so I saw the Leadbelly one. And I'd heard about Leadbelly through err actually through 'Song To Woody' by Bob Dylan. And so I started looking him up and when I picked up this Leadbelly record I mean - it just really gave me a whole blueprint to work within for the repertoire and the idea of the ‘Songster’. And so like I go and buy The American Songster and it was really routed in getting to know Leadbelly’s material and so that one - it was put together by the great Lawrence Cohn - Larry Cohen - out in LA. And he did a great job in really sectioning off Leadbelly’s repertoire in a particular way that just showed the depth and the breadth of that repertoire - specifically on the square dance stuff - really just blew me away you know, and on tour here we're doing 'Poor Howard' and that's where I first heard it was on that record there and that was just something that - I mean it just moved me - ‘cos at that time I was familiar with folk music and blues and early jazz but the idea that there was something that kind of fit between all those different styles was something that just really appealed to me, and so this album just , I mean, it gave me the whole thing. I always call Leadbelly the 'Rosetta Stone' of black folk music and it really is - that compendium really shows that.” Dom Flemons: Band on the Wall Manchester, 11th October 2015 Leadbelly: The Library Of Congress Recordings released 1976 Dom Flemons Lawrence Cohn https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_gcb2ob_Don_Saban__William_Ellis-1w.jpg Don Saban: Photographer COUNT BASIE: KANSAS CITY SHOUT "Kansas City Shout featuring Big Joe Turner, Eddie 'Cleanhead' Vinson and Count Basie with orchestra rounding it all out, how can you go wrong? It has all your basic food groups…blues, jazz, swing, R&B and it rocks! And what makes it even more special is that it was pressed in translucent red vinyl! I never get tired of listening to this album." Don Saban: El Capitan Theatre, Hollywood Blvd, Hollywood, Los Angeles CA, May 2013 Count Basie: Kansas City Shout 1980 Don Saban https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_mi3gp2_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_gupyyqdg_8w5srs_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_gupyyqdg_bilvel_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_gupyyqdg_f9j0v2_GERALD-CLAYTONwb-c-WILLIAM-ELLIS.jpg Gerald Clayton: Musician FREDDIE HUBBARD: HUB-TONES “Well, this is certainly a challenge because as you would imagine, there's millions of records we can point to. And, you know, my usual kind of go to answer is always where I started - which is like Oscar Peterson, and there's a few records that really stand out. But I think another one that was really important to me that I would love to shout out is Freddie Hubbard “Hub -Tones." There's a track on there called “Lament for Booker” it's a really beautiful ballad and Herbie Hancock plays maybe my favourite solo ever. It's only half of the form, you know, the only place that the first of the tune, but it just has everything in it. And it's another example of just his, you know, all of the characters, the feelings, emotions all that that sort of combined when Herbie takes a solo. Like I said, it's just got everything in it. So I want to shout that out and it's really special to me.” Gerald Clayton: Jazz Standard, New York City, 13th October 2019 Freddie Hubbard: "Hub-Tones" - released 1963 Gerald Clayton https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_rkraqk_GEORGE-CABLES-OLP-28wbFF_-WILLIAM-ELLIS.jpg George Cables: Musician MILES DAVIS: MY FUNNY VALENTINE “Well, you know, I've got to tell you that when I started playing this music, when I (first) wanted to be involved with this music, the most important thing to me was just being in the music, being able to play in a band. Not necessarily being a band leader or anything like that but being able to be a part and have an influence on the direction of the music as a pianist as a rhythm section player. And this record is really indicative of that. The guys playing together - Miles Davis who's the captain of this ship - but everybody has a strong role and it's not like ... you don't get the feeling that Miles is there and the other guys are just kind of back up - backing musicians kind of doing their job period. But everyone has an important role and a strong influence on the direction of the music. For me that's the big picture for this record and what happens in there is the way everybody uses colours, uses the harmonies. You know they're the same but they're different. A different way of approaching harmonies, a way approaching chords that kind of allow the chords to blossom and the music to really take another direction. When I listen to Miles’ band, especially that band, I just felt that Miles was - that it was like watching magic being made right in front of you. And this record gave me ideas about how to use chords, how to approach chords, how to try to create colours or discover colours in the music and try to make those things blossom.” George Cables: Village Vanguard, New York City, 7th February 2019 Miles Davis: “My Funny Valentine” / Miles Davis In Concert - released 1965 George Cables https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_3alux6_GIANNI-VALENTIwb_-William-Ellis.jpg Gianni Valenti: Proprietor of Birdland OSCAR PETERSON: WITH RESPECT TO NAT "One LP - absolutely Oscar Peterson. He was a very dear friend of mine. He played for us at Birdland on a number of occasions. We became very close and I visited him manytimes at his home at Mississauga in Toronto. And one visit, we were in his studio and he said, ‘I wanna play you a disc.’ So we went into his little room and he had a wall of discs. He actually had recorded perhaps 250 discs, whether they were just a trio or with others. And he always kept a copy, a beautiful library. And he pulled one out and started playing it and he said, ‘What do you think?’ And I said, ‘Nat sounds great.’ It was a Nat King Cole song. And he said, ‘That’s not Nat.’ And I said, ‘Well, who is it?’ He said, ‘That’s me.’ And I says, ‘You’re kidding me.’ And he says, ‘No, this is an album I did after Nat passed away, With Respect To Nat, in 1965, on Verve Records.’ With his trio, with Herbie Ellis, Ray Brown and of course Old P at the piano. And the album is fascinating for me because I get to hear him not only as genius at the keyboard but hear him sing. And when you hear this album, you have to say, ‘That can’t be Oscar Peterson singing.’ You think it’s Nat King Cole. His voice and Nat’s were so similar. And he told me the story behind it, why he did that album. There was a running thing that the two of ‘em had. Cos Nat was an excellent piano player. Whenever Nat would show up at one of Oscar’s gigs, he would invite him up to play and Nat would go wild at the piano. And then Oscar would get up and he would play and he would sing. So one day after the gig, he told Nat, he said, ‘Let’s make a deal. You stop playing the piano that way and I’ll stop singing this way.’ That was it. So they were brothers, they loved each other dearly. And unfortunately when Nat passed away, Oscar was really taken aback. He was hurt to lose a friend like Nat. And this was a way to pay his respects to one of his dear friends, and of course the album is titled With Respect To Nat. And to this day, like I said, to hear Old P singing and playing at the same time, I couldn’t have chosen a more loving and dear album to me." Gianni Valenti: Birdland, New York City, 2nd April 2014 Oscar Peterson Trio: With Respect To Nat released 1965 Birdland https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_h318jn_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_gupyyqdg_xp75v9_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_gupyyqdg_zkx6fz_JAH9_WB.jpg Jah9: Musician Scientist Rids The World Of The Evil Curse ot The Vampires “So the album I have chosen is " Scientist Rids The World Of The Evil Curse Of The Vampires". And that I mean, apart from the name, like when I listen to that record and it was early in my exposure to instrumental dub and it made a profound impact on me because I didn't even know the songs that were being dubbed but I got so into the music of it. I mean it was very inspiring for me as a poet because of how the music was treated. It was almost like it wasn't even music, it was like it was creating an environment and it was telling a story. So separate from what the original songs were I thought it was incredibly powerful what Scientist was able to do by creating a whole new narrative with sound. And it inspired me as a producer now and as a songwriter because it is music that gave me space because it emptied out so much it gave me space to put my words in. So actually wrote a lot of music, you know, a lot of poetry listening to that music. And so it's something I always go back to and it's something I use in my yoga practice it's sonic healing. And that's why that's such an important record to me and that's why Scientist is such an important producer to me too.” Jah9: Parkside Building, Birmingham City University, 4th April 2018 Scientist: Scientist Rids the World of the Evil Curse of the Vampires released 1981 Jah9 https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_kn49jc_JOHN-TOMLINSON2_21wb_-William-Ellis.jpg Sir John Rowland Tomlinson, CBE: Opera singer NICOLAI GHIAUROV: BASS ARIAS “Well this is a record that I've chosen featuring a wonderful bass singer - a Bulgarian by the name of Nicolai Ghiaurov. He was born perhaps fifteen years before me - so when I was a young student beginning to learn how to sing in the sixties - I suppose I'd be eighteen, nineteen, twenty, twenty one - those years, I suppose he'd be in his early forties and he was at the peak of his powers and his voice was just inspirational to me. That was at a time you know I'd been studying engineering I'd been a civil engineer - I’d been studying singing all my life but it's a difference in scale my singing was going reasonably well but when I heard a voice like his I thought 'This is what ultimately I'm aiming for, this is what the real operatic bass sounds like.’ The splendour of it, the richness of it, the glory of it, the expressiveness, power, it was of a different scale to what I'd known...in all those ways, extremely beautiful, extremely full and rich. Learning to sing is difficult, it takes a long time. It takes many years because you can't see the instrument so you're working on sensation and your teacher is saying 'that sounds better than that and that sounds worse than that' and you're slowly edging forward and trying different things, and perhaps it's a ten year process let's say to really get the voice going and developed. I t's a muscular thing, the muscles need to develop and it's to do with sensation. Vocal technique is being able to sing beautifully on every note in the whole range from top to bottom expressively, fully, beautifully - and that's what I still try to do today.” Sir John Rowland Tomlinson with Mercedes: Hilton Hotel car park, Manchester, 18th November 2016 Nicolai Ghiaurov: Bass Arias released 1963 https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_zi601q_JMARR_WEllis_wbwds.jpg ONE LP@LOUD & CLEAR, EDINBURGH | ABOUT View ONE LP@LOUD & CLEAR, EDINBURGH by ABOUT. https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_y8uies_JUNE-wb_-WILLIAM-ELLIS.jpg June Reid AKA DJ Junie Rankin - Nzinga Soundz BOB MARLEY: ONE DROP - FROM THE ALBUM €ŒSURVIVAL “So I selected “One Drop” from the Bob Marley album called “Survival” that came out in 1979 and it’s quite an iconic album because it also includes the track called “Zimbabwe” which he actually performed in Zimbabwe around the time of independence. The reason why I’ve chosen “One Drop” is that there’s something about that record, and when you think how old it is - I mean next year it will be forty years old. Whenever Lynda and I play it as part of Nzinga Soundz, it creates this vibe without fail each time in the space, in the environment that we’re playing it. And there’s something about it that creates almost like an atmosphere of being at church - sort of religious - more so it has a spiritual feeling about it and it just creates a unity - and people start to sway and move. There is this almost untouchable sense of oneness that it creates. And you can just see them going back in time to where they (the people in the audience) were, recalling memories and how the track makes them feel. So it it’s a very emotive song and it never fails - you know wherever we play that song it creates this feeling that you could cut - almost touch and it’s inexplicable but you can it see it brings people together, whether they predominantly like soul, whether they predominantly like reggae - whichever genre they particularly like, this record creates a feeling of unity and that’s why I chose it. It just takes you somewhere that you just can’t explain. The lyrics are amazing. 'But read it in Revelation (dread, dread, dread, dread): You'll find your redemption And then you give us the teachings of His Majesty, For we no want no devil philosophy; A you fe give us the teachings of His Majesty, A we no want no devil philosophy:' - Bob Marley In the late 70’s we were young people trying to find ourselves and establish our identity at a time when it was quite hostile for young Black people, so I think it has that significance and that resonance for all those reasons.” June Reid Aka DJ Junie Rankin, Nzinga Soundz: Black Cultural Archives, 12th December 2018 Bob Marley and The Wailers: "One Drop" from the album "Survival" released 1979 https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_i3s0u2_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_gupyyqdg_xwx1cn_JUSTIN-ROBINSONwb-c-WILLIAM-ELLIS.jpg Justin Robinson: Musician CHARLIE PARKER: CHARLIE PARKER WITH STRINGS “The Charlie Parker with Strings record. The reason why it's so special to me is actually it brings back fond memories of hanging out with my dad, who was a huge fan of Charlie Parker, and my mom as well - but my dad was a Charlie Parker fanatic. And so that record was something he would play all the time in particular, like “April in Paris” and also of course “Just Friends” with the solo break that you know - I don't think can ever be redone again, you know? Yeah. So it brings back very special memories of being at home with him. You know, 12 years old -11 years old is listening to him sing all those different things enjoying the music on the weekends.” WE “You find that set your course as well Justin - for your incredible career?” “I think so - but I think that the music chooses you before you choose it. It's like you almost don't have a choice - it's like you're initiated before you’re even aware of it. But I think that that was my 'in' into the society of Secret Society of Music!” Laughs Justin Robinson: Django at The Roxy Hotel, New York City, 12th Octber 2019 Charlie Parker: "Charlie Parker with Strings" - released 1955 Justin Robinson https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_9r2lta_LEE-KONITZ-OLP-12wb_-WILLIAM-ELLIS.jpg Lee Kontiz: Musician ANYTHING BY ROY ELDRIDGE: “I know if Roy Eldridge is on it I'm going to like it. Every record that I've heard Roy really stretch out and I like very much he always very special, but not thinking of a special album cover." WE - “Thank you. I wonder if - maybe the first time you played with a particular musician that went on to become a great friend, perhaps you might have something like that in mind too?” Mr. Konitz “Well, I have a few of those. Not able to just repeat them offhand. But I I have been going through all my albums, and small records and find a lot of them that I like very much - the covers and the substance..” Lee Konitz: Blue Note, New York City, 9th October 2018 The session took place prior to Mr. Konitz' 90th Birthday Celebration performance. Roy Eldridge:'Swingin' on the Town' released 1960 Lee Konitz https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_pzuqsn_LEO-OKELLYwb_WELLIS.jpg Leo O'Kelly: Musician DONOVAN: WHAT'S BIN DID AND WHAT'S BIN HID "It turns out to be the very first album I ever bought - it was Donovan's 'What's Bin Did and What's Bin Hid' and it was his first album - so that was very special. I'd just heard - like everybody else 'Catch The Wind' on the radio and never heard anything quite like that and I was playing a little bit of electric guitar at the time - and it (the record) just made the acoustic guitar seem more exciting, and you know - pictures of Donovan with a guitar on his back seemed to spell freedom and you could be unplugged and go anywhere you like. That's really what happened. And when I met Donovan for the first time a few months ago we played the Lunar Festival in Nick Drake's home place and I got chatting to Donovan over breakfast and said, you know - 'thanks very much Don for setting me off on the right road." Leo O'Kelly: Band on the Wall, Manchester, 20th September 2015 Donovan: What's Bin Did And What's Bin Hid released 1965 Tir na nOg https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_lt5xvv_LIONFACE-wb_-WILLIAM-ELLIS.jpg LionFace: DJ.Producer, Dubplate FRED LOCKS: BLACK STAR LINER / TRUE RASTAMAN “Well actually Fred Locks is the artist, which is Fred - Locks, and I should think it's his first album when maybe I was like around - I could say about nine - ten years old, maybe. Well yeah it's Fred Locks is "Black Star Liner" and that album is like what I would call, I would call it Rasta La you know. It's one of the first albums that I really got inspiration from and knowledge of it like, you know, of Rasta and like them. Well I was born in Trinidad, right. I was born on the island of Trinidad San Fernando way down in the south and I grew up at that tender age - I left Trinidad when I was thirteen. At that time at that young age I used to be amongst some notorious Rastas, you know. As a youth you know you always want to be around the big man. The big man - the bad man, the big man. Know what I'm saying? So I would, in the night I would wait till they go into party and follow them, you know, cos most of time, most of the time we walk like for miles to the party. I would like wait on corner in the bushes and wait till they, you know, and follow them and then after when we get to the party - actually they would see me and like 'yo go home, go home boy'. And I would like - I would go hide and like wait and I would like follow them like still like a half a mile after them and when they reach the party then I would like show up again and they would be like ' but I told you to go home'. 'But I'm not going - I want to go party. ' 'But you have no money'.bYou have to jump over fences and stuff to get in those parties, yeah. But coming back to Fred Locks, as a little youth nine .. ten years old .. one of my elder sisters - Judy..she passed away from cancer a few years ago..she had a boyfriend who was a Rasta, yeah, and he had a sound system called House of Dread HiFi. Like you know cos I, a lot of people wouldn't understand I've been seeing this sound system thing from when I was a tender age even before I came to America, even before I went to Jamaica I've been experiencing and witnessing these things in Trinidad as a little youth, you understand me. And so my sister's boyfriend would bring over records and leave for her to play, yeah. Like you know Big Youth album with the red, gold and green teeth and you know -what is it called..Natty Dread yeah. And you know the Fred Locks and you know mostly in that time, growing up in that time, the most popular songs were like of Joe Gibbs label, in my time -growing up in Trinidad it was Joe Gibbs label. Those 12" disco mixes were like the most popular music like, you know, the combinations with Dennis Brown and Prince Mohamed and like Culture and Nicodemus, you know stuff like - those 12" disco mix. Mighty Diamonds, Like a River etc, and you know. Those kind of 12" disco mixes with the singer and then the DJ like, you know. The singer and then Trinity after, you know. But then there was another side like a culture side,yeah, which I really took to cos I had the opportunity of playing the albums cos as I said my sister's boyfriend used to bring them over and leave. And when she goes to school, when I would come home from school ..I would try to get home from school as early as possible, right, cos my father had a thing - we called it gram.it's this long, t's like maybe a couple of feet long the speakers are on the front - you know what I'm talking about ..and in the middle you lift up the lid and there's a turntable down there in there with the knobs and stuff,yeah. So that's where I started from. I would pray for my father not to come home early from work and try to get home before my sister gets home so I could play those records and Fred Locks is one of them like, you know. I really love that record like to the maximum Blackstarliner .to this day, you know. I even left Trinidad with it as a little youth, like, the guy who owned it Hans gave it to me you know. And so yeah, and even coming to America -well actually I left Trinidad and migrated into the US Virgin Islands, yeah, and I came to New York where I got my diploma, yeah. And so when I came to New York I happened to me, like two blocks away from where I lived ..I came to New York in Brooklyn Sterling Street and Rochester my sister lived there and then next to that I woke up. William - would you believe, the next day I woke up I walked two blocks over to Utica Avenue and it was like my dream come true. Would you believe William who was standing on those corners..Sterling Place and Utica Avenue two blocks from my house - people who Ive been dreaming of seeing. I've been playing their records from when I was a little youth. Nicodemus, Louis Lepkie, Lee Van Cliff Cliff. Like these are like - agh!!what! And then every day they would, cos they have friends that would you know be on those corners from Jamaica ..those people from round that area they ..every artist that comes from Jamaica they know them all. They know the artist very well so all the artists come round here and check them, so I would be like yeah well that's the place to be. So I would be there every day, you know, started hanging out getting to know people then, you know, people getting to know me and I would just fall into it,know what I mean. Fred Locks was one of the first like main reggae albums that inspired me, that made me love reggae music. Not even Bob Marley at the time but it was Fred Locks yeah. So Big Up Fredlocks, yeah man. Even to this day.I need to add to it that after migrate you know to New York and happen to be working in a record shop, this reggae record shop, in Crown Heights Utica, Crown heights Brooklyn one block from ..between Utica and Scenectady It was called Rockers Forever. And I was very very very very good at selling records, you know, very very good at selling records and cassettes. Live dance hall cassettes and I would make custom cassettes for customers who come in and like ' I need these songs and these songs' and they would be like so satisfied and I was really into it from, even as I said from a little boy House of Dread HiFi when I was ten year old. I used to jump my fathers - when my father go to sleep at night open up the back door - jump over and I said go follow..you know - those guys and stuff. I would go far away to quite out of town - follow them on the truck with the sound ..they'd be like, you know 'Put that in the case and put that in the case and go put on this record and stuff', as a little boy. So you know it always stuck with me it was in my blood. Actually when I moved to the Virgin Islands I moved with a like a box of records, there was those same Joe Gibbs 12" and stuff that I was telling you about. And those people in the Virgin Islands they didn't know anything about those music all they knew about was Bob Marley, Third World, Culture, you know the group Culture, stuff like that. Like cultural music and then I introduced, we call it rockers. In high school I used to make cassette tapes and stuff and it was the most popular cassette tape, it was like new music to them. And I came to America and as I said then, talking about Fred Locks now, so while moving to Crown Heights, working at the record store there was this guy who had a sound system called Addis HiFi, which you would know as Addis international now, Addis HiFi that's how it started. The owner of Addis HiFi used to come around to the record store and buy records every Saturday and then he used to just love how I sell records and how - you know. And one day he came and said 'Man do you want to join my team, you want to join my sound system, man you bad in the record store, like you bad ass in the record store. You want to join my sound system'? I was like whaaat! I'm like yeah ok. On Monday there's a holiday, there's the sound systems going to string up outside around the corner just come around and get yourself familiar. And I went around there ..that was it..that was history. And then I became part of Addis HiFi. And so I met the great Danny Dread the famous selector , Danny Dread from Volcano, Papa Roots, King Atarney. One of the original foundations selector of dancehall Danny Dread. And so he mentored me, right so, I grew up on that team. He mentored me and I develop that skill, right. Actually we started I used to be a DJ on the mic first with Supercat and Nicodemus and Tenor Saw and Chuck Turner and everyone who came to New York used came around there by Addis HiFi and practice every night, there was like a party every night. And so the sound became very famous. We started taking on ( class town clash) dates and so I became one of the baddist ass class selectors in the world over the two decades. You know you could look me up , Google me , you know LionFace aka Babyface formerly of King Addis. And so Dub plates. Just to close it off talking about Fred Locks again and so dubplates was a thing that I used to be like .. I lived for dubplates. I was the first one to voice like Billboard hip hop dub plates. I used to be like 'what can I do that the rest of sound systems not doing..what can - to take myself up to another level..like you know. So I used to study about dub plates like ten days a week - there's only seven days in a week ..I used to study about dubplates from morning to morning. I used to be searching for artists that never voiced a dubplate yet etc etc . I always used to be like 'who we haven't heard yet on a dub'. and that's how I always went that way and then I came across .... Gosh I've never voiced Freddy ...I was like Fred Locks ..gosh William ..Fred Locks my reggae hero he's never voiced a dub yet. And then he would happen to be in New York and I called him, I got a link with him and I called him like 'Fred Lock can you get ..' and he said yes. And we went to Long Island Philip Smart studio, Philip Smart has passed away, and he voiced the first two dubplates for ever in the world for Addis international and so we kept that relationship. Anytime I go to Jamaica I go visit him out in Harbout View where he lives, you know. Yeah so that's Fred Locks , you know. And also you know along with other artists too kind of inspire me and has played a part in my growing up and, you. Know, Steel Pulse. You know in high school like when I moved to the Virgin Islands as I said they only knew about culture not rub a dub music you know and so Steel Pulse was one of the main reggae bands that people in the Virgin Islands they youths they knew in the Vigin Islands along with Aswad. Aswad is Brinsley and Drummie and Gad and man I love those people William man like. Aswad it's like ..man I love ..man Aswad. David Hinds Steel Pulse you know. That's my high school growing up right there and that who played an important part I my reggae growing up and being. Right!” LionFace: Brooklyn Museum, Brooklyn, NY, 9th February 2019 Fred Locks: "Black Star Liner" - released 1976 The Real Lionface https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_h30x2k_LOUIS-HAYESwb1_-William-Ellis.jpg Louis Hayes: Musician HORACE SILVER: 6 PIECES OF SILVER “This LP was recorded in 1956 with Horace Silver (I chose it) because it was my first. When I first came to New York I had the opportunity to record this album and I enjoyed all the music that he had written for it so it will always be one of the most special albums I’ve ever recorded - Horace Silver and all the musicians that participated on the album.” Louis Hayes: Ronnie Scott's, London, 9th February 2017 Horace Silver: 6 Pieces Of Silverreleased 1957 Louis Hayes https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_pze3cx_LYNDA-wb_-WILLIAM-ELLIS.jpg Lynda Rosenior-Patten: AKA DJ Ade , CEO Maestro 7 VARIOUS ARTISTS: THE FRONT LINE “I have to start by saying it was an almost impossible task to choose one album but I’ve chosen “The Front Line” album for the fact that 1976 when this LP was released was a very significant year for Black struggle, including the June 16th Soweto Uprisings in South Africa. The following year 1977 I visited Africa for the first time which had a profound and life changing impact on me and it was also the year that Steve Biko of the Black Conscious Movement (BCM) was assassinated which began the awakening of my political consciousness. Growing up in Britain I was aware of the Front Line on Railton Road near to where I grew up in Talma Road, Brixton and later knowing other Front Lines in Handsworth in Birmingham and Toxteth in Liverpool as back in the day we as black people in Britain were more unified in our struggles against oppression - and also saw our struggles reflected in places across the world where we had never been to. For me the "Front Line" is a genius compilation of seminal tracks including the Mighty Diamonds’ “Africa’ and “Right Time” Delroy Washington’s “Freedom Fighters”, Johnny Clarke’s “Declaration of Rights” and U Roy’s “Natty Rebel” such powerful tracks that punctuated our struggles as black people internationally. Visually the LP is very powerful too, made even more striking as it’s in black and white – I don’t think it would have been so compelling had it been in colour. For me as well as the wider struggle of black people I think it represents my personal struggle for identity and the spirit to overcome physical and mental oppression. The late 70s and 80s was a time of my musical awakening and I suppose the time when I began playing at family parties which led eventually to me setting up Nzinga Soundz as DJ Ade alongside June Reid aka DJ Junie Rankin my close friend and partner in the sound. The reason why this LP is particularly special for me is because it was produced by Virgin Records – and Virgin Records was where June and I had our first "proper" jobs back in the 80’s on Oxford Street in London. I was the first black female buyer for Reggae 12 inch and Soca sections and I also established the World Music and the Africa sections at Virgin Records. We learnt a lot about music during those years and spent a lot of time with suppliers such as Jet Star Records and we were very instrumental in making sure that this album was really well stocked along with many other really important records coming out at that time particularly Jamaican and African Reggae artists. As a DJ - alongside Junie Rankin we played this LP a lot, I remember thinking how cheap it was £1.29 if I'm correct! So little for such a genius album, I think even in those days it was the same price as a 12 inch single. As a sound we had the good fortune of playing at some seminal events not just parties and private functions but also on community radio and at certain concerts when we were booked by promoters such as Wilf Walker to play at The Astoria, then in Charing Cross when the Mighty Diamonds were in concert and then having the chance to meet these artists and have them sign our records was a major honour for us. So the Front Line represents a key part of my journey but very much resonating with the struggles of black people both in the Caribbean and in Africa, for me it is really like a commentary of those journeys from my youth to womanhood and fighting for agency within U.K. society.” Lynda Rosenior-Patten AKA DJ Ade Nzinga Soundz, CEO Maestro7 Creative Management Consultancy: Black Cultural Archives, Brixton, London, 12th December 2018 Various Artists: "The Front Line" released 1976 Black Cultural Archives Nzinga Soundz Nzinga Soundz Nzinga Soundz https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_gr8f3u_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_gupyyqdg_audsxq_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_gupyyqdg_36519y_MARTIN-CARTHYwbWILLIAM-ELLIS.jpg Martin Carthy: Musician LIBBA COTTEN: NEGRO FOLKSONGS AND TUNES “There was a woman I heard in 1959 - a woman called Elizabeth Cotten L-I-B-B-A - Libba Cotten and she played a thing called 'Wilson Rag' but also played 'Freight Train'. She was the person who gave the world Freight Train and I heard her name when when she a representative of hers sued Chaz McDavitt and Nancy Whisky because they claimed to have written it - and she wrote it and she won the law suit. And then I heard the record and bought this record. It was on Folkways Records and it was on 'Negro Folksongs and Tune's... it was of its time! And its second track was Freight Train and I just remember listening to that - listening to it - and thinking - I want to one day play as lyrically as that - that's how I would love to play. I didn't understand until later on that she played left handed and upside down. She always wanted to play and her brother had a guitar and he wouldn't allow her to use it c'os it meant having to switch the strings all round - so she just learned to play upside down and fashioned this way of playing that was just beautiful, beautiful beautiful thing, very delicate and beautifully lyrical and I thought ‘if I can ever play like that I'll be a happy man’. And that's one of the people on my record.” The other two were singers, one of them was a Yarmouth fisherman called Sam Larner. He was about 80 when I saw him singing - he was just amazing.. WE - “When was that Martin?” “When was that... I reckon it was 1958 or 1959. So I was 17 - I might have been 18 - and I just heard this old man singing and he sang a music I couldn't have dreamed of. Just absolutely beautiful stuff because English folk music - the real thing- is very, very odd, it's really odd and I kept thinking 'nobody can sing a tune like that - that's the weirdest tune I've ever heard in my entire life. It was his way with a song called 'Henry .... he didn't call it ' Henry Martin' but it was his way a Henry Martin story and it was just beautiful and I walked home thinking 'it's crazy - nobody can sing a tune like that and I was Lah lah -ing the tune to myself as I went along thinking ‘'nah.... you can't sing a tune like that' .... I didn't see the joke for 20 years you know. ( laughs). And the other one was this - he's a traveller a Scotts traveler/singer you know called Davy Stuart (Hutchison) who I used to do lots of gigs when I used to tour up in Scotland a lot - lovely bloke - he was a traveller and he was wonderfully bonkers and he played a huge piano accordion when he sang and his chording was from another planet. It was just - when I first heard it I thought it was all wrong but as I got used to it I thought it can't be done any other way - it's got to be his way or the highway. (Laughs). WE - “Created his own kind of ....... MC - “Absolutely, absolutely, absolutely right. What he did was right for him and he was another one of those old men who had a passion about his singing. I hear it now and I'm just .. I still get.... I still get goose pimples - every hair on my body stands on end - I haven't got much left but what there is stands up to attention when he starts to sing. And my favourite song of his is a thing called ‘MacPherson’s Farewell’ about a fiddler who's being hanged and err, they wind the clock on a quarter of an hour because they know the reprieve is coming. So they put the clock on a quarter of an hour. So they hanged him and before they hanged him he took his fiddle and he smashed it saying 'no one else shall play this and whack! - smashed it. This bloke sings that song - absolutely beautiful - Davy Stuart.” WE - “Martin - that’s so wonderful to hear, thank you - so special.” MC - “Put those three names on that record - ‘Libba Cotten with Sam Larner and Davy Stuart’. No such album - never will be - unless I do a sensational remix! Nothing’s impossible these days!” WE - “Martin is it a big tour?” MC - “Well - it's been going on for about 54 years so far ... it's not over yet!” Martin Carthy: Band on the Wall, Manchester, 3rd July 2015 Libba Cotten: Negro Folksongs and Tunes released 1957 Martin Carthy Sam Larner https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_9t0zuq_MARTIN-SIMPSONwb_William-Ellis9930-copy.jpg Martin Simpson: Musician THE COUNTRY BLUES: EDITED BY SAMUEL B. CHARTERS WE - “Martin, you’ve very kindly chosen a record that’s very special to you, I wonder if you could say what it is and why it’s so close to you please?” “I can with great pleasure - it's 'The Country Blues' edited by Samuel B. Charters on RBF records out of New York. And this came out in 1959 to accompany Sam Charters book of the same name. And when I was 14 years old, which was err 19... what was it? 1967, and I was in a jug band in my home town of Scunthorpe with three guys who were 19 and 20 and one of them - David Todd, lent me this record. Now I'd heard blues, I had two older brothers who had blues records, Big Bill Broonzy, Muddy Waters, stuff like that - but this - this compilation completely opened the door for me - it changed my life. I mean the breadth of what's on here is so extraordinary - from Leroy Carr's beautiful, gentle, sophisticated piano playing to Blind Willie Johnson tearing it up, both in terms of slide guitar and vocals. Robert Johnson, you know. It's an extraordinary collection - I don't think in a way it's been bettered just as an introduction to country blues you know.. Two jug bands on here, Memphis Jug Band and Gus Cannon's Jug Stompers. Some really quite unusual stuff - like Peg Leg Howell and then 'Statesboro Blues', Blind Willie McTell. ‘Preachin’ the Blues’ - Robert Johnson. It's extraordinary and I play it all the time still. It's a long way - I've had this for err - how long have I had this? - 48 years.” WE - This actual record? MS - This actual record. I never gave it back to the guy I borrowed it from. WE - Good for you! MS - “And he saw me for the first time s few years ago and was like ' Martin Simpson' I said 'David Todd' and he said 'yeah - you thieving bastard'!” WE - “It's the blues!” MS - “Yeah it's the blues!” Martin Simpson: Band on the Wall, Manchester, 11th October 2015 The Country Blues: Edited by Samuel B. Charters, recorded 1920s - 1930s. Released 1959 Martin Simpson Samuel B. Charters https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_0xyki9_Martin_Taylor_w1LP__WEllis.jpg Martin Taylor DJANGO REINHARDT: DJANGOLOGY Martin Taylor: Floral Pavilion, New Brighton, 19th November 2010 Django Reinhardt: Djangology - released 2005 Martin Taylor https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_r6cq6s_MARQUIS-HILLwb-c-WILLIAM-ELLIS.jpg Marquis Hill: Musician DONALD BYRD: OFF TO THE RACES “Yeah, it's a Donald Byrd record called “Off To The Races” - Blue Note release. I want to say maybe the late 50s. But for me, it was one of the first records that really exposed me to Donald Byrd’s sound and he's one of my major influences his clarity and his ideas and his shapes. And also on that record Coltrane is featured - he’s on the project as well. And you know, his sound is powerful and I'm a huge fan of Coltrane as well. So that's one of my favourite Donald Byrd records - the first one that came to mind when you asked me,yeah.” Marquis Hill: Nate Holden Performing Arts Centre, Los Angeles, 19th October 2019 Donald Byrd: "Off To The Races" - released 1959 Marquis Hill https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_g4taj7_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_gupyyqdg_dxv4r4_MARY-STALLINGSwb-c-WILLIAM-ELLIS.jpg Mary Stallings: Musician MARY STALLINGS - LIVE AT THE VILLAGE VANGUARD "Well, in the first place that was the first live recording that I've done, you know, after, after taking some time out from business and recording with several other labels prior to this recording. And just the chemistry, everything was right. Actually, Lorraine Gordon pursued me and she said she's trying to find me for three years. And I can tell you how many people she's, you know, tried to, to get me to work her club - Village Vanguard. And so one day - she got my card from somebody and she called me on the phone herself. And I remember I was, was sleeping and woke up and she says, Well, I always imitate her - 'Mary Stallings?' I said yes, she's speaking. She says 'oh boy. I've got her. I've got her on the phone right now.' And she was so excited. And I said, Lorraine Gordon from the Village Vanguard? She said, 'Yes, I was going to explain it. I've been trying to get you girl for for three years and finally I gotcha.' So anyway, I got a chance to perform - work at her club and at the same time I was fortunate enough for the Richard McDonald from the Maxjazz Recordings to summons me - he came out to San Francisco to hear me because he knew I recorded with Concord - I did three projects and he found I was not going to be with anymore because Carl Jefferson, the owner of the recording company, passed away. So anyway, he told me he would love to do some projects with me and I said - oh, of course! So we did some business and and at the same time Lorraine said ‘It will to be wonderful. You know I've never had another singer to perform and you know, I'm not I really want you to do this.’ And I said oh Lorraine! So it was really great. So History - she made this happen with along with with MAXJAZZ. So I was thrilled to do it because this is my favourite because it's live. It's really truly I think me. Closer to being me. I'm better myself you know when I can tell a story to people around me and they were just embracing me that night, you know - the audience and, and working with Eric Reed for the first time because I've heard of him so many years you know, this young kid out here killin’ it. So we came together and did a couple of concerts together and out of out of that this happened. Yeah, so it is my favourite because as I say is closer to being me. You know - (it shows) the many faces of Mary Stallings I feel, because it shows my roots, my gospel roots, but I kind of have a thing for classical music, and I think there's one song that kind of gives the range of what I really do. Because just hearing me, you know, ‘straight’ I(but) to really know me is a variety of things that I feel and I have purposes for most of things that I do sing and sometimes some helped me to embellish a little bit more than then I would normally do. So, like I said, it's just a good feeling and good people in the audience and it was just so excellent night. A night for me to really remember.” WE “Wonderful. Thank you Mary, just lovely.” Mary “Oh it's my pleasure.” Mary Stallings: Ronnie Scott's, London, 21st January 2020 Mary Stalling: "Live at The Village Vanguard" released 2001 Mary Stallings https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_igh6ll_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_gupyyqdg_4fnp6d_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_gupyyqdg_jaex28_NEIL-KENLOCKwb_-WILLIAM-ELLIS_-WILLIAM-ELLIS-copy-.jpg ONE LP@LOUD & CLEAR, EDINBURGH | ABOUT View ONE LP@LOUD & CLEAR, EDINBURGH by ABOUT. https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_lzzuw3_NORMA-WINSTONE-FFwb2583_-WILLIAM-ELLIS.jpg Norma Winstone:: Musician MILES DAVIS: KIND OF BLUE “Well, it's Miles Davis “Kind of Blue”, I'm sure loads of people chose this one - I had to chose it because it had a profound effect on me. I don't know how many other albums I'd bought before then but I think the first one that I ever bought and I saved up for when I was at school was “Ella and Louis with the Oscar Peterson Trio.” And I was also very affected by Dave Brubeck’s quartet with Paul Desmond and I found that I was listening to the solos, I was learning the solos, I didn't realise they were improvised because Paul Desmond was so clear in the way he played and you could actually copy it. But, I think I joined a club and we saved up so much a week and then this guy would come round and he'd say 'Well this albums new ... and this ones new .. and I can order it for you' , and he said 'there's a new one by Miles Davis, John Coltrane “Kind of Blue” and I thought 'Oh have to have that!'". Norma Winstone: Midland Hotel, Manchester 26th July 2018 Image Courstesy of the Royal Northern College of Music One LP Series Miles Davis: "Kind of Blue" released 1959 Norma Winstone https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_ljxwbp_ORBERT_DAVIS_wb__WELLIS.jpg Orbert Davis: Musician CLIFFORD BROWN: CLIFFORD BROWN WITH STRINGS Orbert Davis, co-founder and Artistic Director of Chicago Jazz Philharmonic. "This is Clifford Brown with strings, I was a teenager when I first heard this incredible album - the depth is in it's subtleties - and Clifford is so perfect with the string writing of Neal Hefti. It's a true blending of classical and jazz. The first thing I knew - this is funny – I recognised the name Neal Hefti from the Batman theme! For me as a trumpet player I study Clifford Brown - as an arranger I study Neal Hefti, so this brings both those worlds together - and it did so when I was back in high school when I discovered this recording- this is my One LP!" Orbert Davis: Symphony Centre, Buntrock Hall, Chicago. 15th May, 2013 Clifford Brown with Strings: arranged and conducted by Neal Hefti released 1955 Orbert Davis Chicago Jazz Philharmonic https://storage.neonsky.app/651h4emo/images/651h4emo_gupyyqdg_pyky94_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_gupyyqdg_3w7qsv_PATRICIA-ROUTLEDGE8696-c-William-Ellis.jpg Dame Patricia Routledge: Actor EDWARD ELGAR: DREAM OF GERONTIUSE "My very special choice is the Dream of Gerontius by Edward Elgar. A great work, a great choral work, and particularly I’ve chosen the performance recorded by Sir John Barbirolli, beloved of Manchester of course, and led the Halle for years, and with Dame Janet Baker as the angel, I wouldn’t have anyone else, although I did see and hear Kathleen Ferrier when she sang it in concert, with Richard Lewis who I thought was a great tenor, and Kym Borg. I love the record, it means a very great deal to me, and I have given it to people on significant occasions." Dame Patrica Routledge: Royal Northern College of Music, Manchester, 14th February, 2017 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://storage.neonsky.app/651h4emo/images/651h4emo_bsowou9m_vb2z1e_TONY-KOFIwb_WELLIS.jpg Tony Kofi: Musician THELONIOUS MONK: BRILLIANT CORNERS "Brilliant Corners' by Thelonious Monk. Why this album is so special for me is because when I first heard it - it sounded all wrong but it pricked my conscience you know. The actual tune 'Brilliant Corners' - I didn't understand it because it wasn't even and symmetrical like most standards are - or most compositions are. Very quirky and the strongest link all his compositions was the melodies you know; the strong sense of melody and time - and the feel - and dissonance. So, that was the album for me and that really got me into jazz and made me.... kind of like think.... this is what I want to be when I grow up." WE So, it's through the intrigue of the album almost? TK Yes yes - absolute intrigue. 100% total intrigue. When I first heard it I didn't like it but then when I investigated I realised that it challenged me and so I went for that challenge and start learning about Monk and studying Monk. So it was total intrigue, you know sometimes the thing that intrigues you most is the thing that grabs you, you know, the most - so Brilliant Corners is one." Tony Kofi: The Spa, Scarborough, 26th September 2015 Theloniuos Monk: Brilliant Corners released 1957 Tony Kofi https://storage.neonsky.app/651h4emo/images/651h4emo_bsowou9m_jvqn3f_CHRIS-CHEEKwb_WELLIS.jpg Chris Cheek: Musician CANNONBALL ADDERLEY: THINGS ARE GETTING BETTER “It's a Cannonball Adderley record called 'Things Are Getting Better'. And I guess the reason it's so special was I had been taking lessons when I was in High School with a friend of my band director who was a saxophone player who had just moved back from New York. And he had an amazing record collection and he would loan me records to listen to each week, but that record was like the first jazz record I bought literally and I ordered it through the mail and I was just so excited and I just remember like waiting for days - and it seemed like months before it came but I remember we were sitting down at dinner and the bell in the door rang and I knew it was the delivery of the record and I remember just jumping up from the table and going and getting it and just - I don't know something about the act of opening the package and holding you know - it was like one of my first records you know that was mine. And there's a picture of him and you know he's holding the horn out in front of him and so the horn looks huge. And it's just a great record you know and I listened to it every day for months you know and yeah - just loved it.” Chris Cheek: The Spa Scarborough 27th September 2015 Cannonball Adderley: Things Are Getting Better released 1958 Chris Cheek https://storage.neonsky.app/651h4emo/images/651h4emo_bsowou9m_2zdmev_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_bsowou9m_bzexyz_DARIUS-BRUBECK_WELLISwb.jpg Darius Brubeck: Musician ERIC DOLPHY: OUT THERE "Well actually when you introduced the project, I thought - 'I could really work at this - and that would be too much of a challenge!' Or I could just go with what popped into my head, and a very interesting one did. It's 'Out There' by Eric Dolphy. And the reason I think it was a very influential album for me was the instrumentation really. The unusual sonority of cello, bass, bass clarinet - when he played bass clarinet or flute, when he played flute and a little bit of alto but, you know, the changing around - and the cello. So no chord playing instruments as such but just the way those instruments resonated with each other and the way of playing in the kind of post BeBop style - but nothing very formal . You now when I talk about the instruments you might think of it as sounding more like one of the more formally arranged West Coast jazz things that were kind of in that third stream pocket or something - but it wasn't at all. It was actually very New York, it was a bit odd, a bit scratchy - Ron Carter on cello - playing and so forth. But it had tremendous time and feel and it created a sound Universe for me beyond what I thought of as the instrumentarium - the sound universe of straight ahead jazz and yet it didn't sound like a classical cross over kind of thing - like the things that you know - my father was doing with Leonard Bernstein or even Gunther Schuller. It was its own space. 'Out There' really influenced me to try and find those spaces myself." Darius Brubeck: The Spa, Scarborough, 27th September 2015 Eric Dolphy: Out There released 1960 Darius Brubeck https://storage.neonsky.app/651h4emo/images/651h4emo_bsowou9m_b6tz8s_DENYS-BAPTISTEwb_WELLIS.jpg Denys Baptiste: Musician COURTNEY PINE: JOURNEY TO THE URGE WITHIN "Ok, I've thought long and hard about this and I thought to myself actually it would be Courtney Pine's 'Journey to the Urge Within', which was his first album that came out when I was at school. I'd been dabbling with a little bit of jazz at the time, I hadn't really had any idea about being a jazz musician and I think on hearing that album and hearing him playing that music live was the thing that kind of inspired me. The thought 'You know actually I could do that too'. So it holds a very special place in my heart as an album that kind of made me make the difference between deciding to be an engineer or being a musician." Denys Baptiste: The Spa Scarborough, 26th September 2015 Courtney Pine: Journey To The Urge Within released 1986 Denys Baptiste https://storage.neonsky.app/651h4emo/images/651h4emo_bsowou9m_2kmcld_SUE-RICHARDSONwb_WELLIS.jpg Sue Richardson: Musician GERRY MULLIGAN: THE ORIGINAL QT WITH CHET BAKER “It's the Gerry Milligan and Chet Baker album. The very first one they made together in the early 1950's - it was the album that made Chet Baker the star - put him on the map. And I love it because it was really unusual. Gerry Mulligan was the ideas guy, was doing lots of arranging. He'd just been working with Miles Davis. And he didn't have a piano in his band so there was nothing in the rhythm section apart from bass and drums and then he was playing baritone sax and Chet was playing trumpet. Chet didn't really read music - he wasn't a theorist - but somehow they just instinctively just worked together. So things like Bernie's Tune and there's that solo and they were all just weaving in and out together. It's - ahh- its sublime and so, yeah, it's the thing that really does it for me. Makes me feel like a bit of a dinosaur - cos - oh I love 1950's music. But it's - yeah - it's what does it for me. It's laid back, it's quiet, it's not in your face. It's just beautiful.” Sue Richardson: The Spa Scarborough 26th September 2015 Gerry Mulligan: The Original Quartet With Chet Baker released 1998 Sue Richardson https://storage.neonsky.app/651h4emo/images/651h4emo_bsowou9m_chg7dl_BARRY-GREENwb_WELLIS.jpg Barry Green: Musician HERBIE HANCOCK: MY POINT OF VIEW “Herbie Hancock's ' My Point Of View', which was his second album as a leader. He was only 23 when he made it and one of the things I like about it is you're able to hear Herbie sort of right at the beginning of his career just as he started playing with Miles - and how exciting that is. There's everything, well everything is pretty fully formed for him. It's also a great example because he, in his first album and in his second album, didn't play any standards - which I love playing- he just played original music which, I think, he was encouraged to do by Blue Note. They could have just got him to record an album of standards but instead they encouraged him to do some of his original music, and that's one of the reasons why it's such a classic album. Also, like his first album, he had players of different generations on there. So Hank Mobley's on this album, like Dexter Gordon was on his first album. And also it's got a very , sort of, wierd rhythm section that works but with Chick Israels and Tony Williams who, I don't think, ever played together in any other scenario, it sounds great. Anyway it's one of my favourite records - one of the first records I ever got.” Barry Green, The Spa, Scarborough, 27th September 2015 Herbie Hancock: 'My Point Of View' released 1963 Barry Green https://storage.neonsky.app/651h4emo/images/651h4emo_bsowou9m_juhu5k_JEAN-TOUSSAINTwb_WELLIS.jpg Jean Toussaint: Musician JOHN COLTRANE: LIVE AT THE VILLAGE VANGUARD 1961 "It's Coltrane - 'Live at the Village Vanguard' - the one from '61. And, you know, it's special because when it came out I think he was constantly blowing everybody's mind but when he brought this out he blew everybody's mind! And you know - and their mother and father and grandmother, you know (laughs). He just rewrote the whole thing - playing the saxophone like that and leading the band like that was never done until that record. That was the template for like hot modern jazz from the 60's, you know, and up until now. It's for me that's the height of the music you know and nobody has gotten that kind of playing to that level as yet, in my opinion you know. that's just - it's all - you know - it's one persons opinion - so a lot of people might disagree you know. So, but that's it - that's why. And it's what he's doing with the blues - what he's doing with the modal thing that he got from Miles - it's where he was taking it. He was taking it elsewhere you know. He was just going into all the different places that we who followed is attempting to continue and develop and go into there, you know, but him, Elvin, Jimmy Garrison and McCoy Tyner they were doing that in 1961 you know. They started that ball rollin' for me, you know, and that's why I love it." Jean Toussaint, The Spa. Scarborough, 26th September 2015 John Coltrane: Coltrane "Live" at the Village Vanguard released 1962 Jean Toussaint https://storage.neonsky.app/651h4emo/images/651h4emo_bsowou9m_e3uivh_CIYO-BROWNwb.jpg Ciyo Brown: Musician STEVIE WONDER: SONGS IN THE KEY OF LIFE When you first mentioned it I thought 'Oh my gosh' after all the many years of listening to music it's a real struggle to like pick one album out. And my top two was Stevie Wonder's 'Songs In The Key Of Life' and George Benson's 'Weekend In LA' - and I'm a massive George Benson fan, and 'Song's In The Key Of Life' - I think it would be that album Stevie Wonder's 'Song's In The Key Of Life', Motown 1976. It's just an absolutely amazing album. What I love about it is thematically, musically and also in terms of the lyrics and the themes - just amazing. I think the story behind in terms of - from what I've read - when Stevie approached Mr Gordy and said 'Look, I want to do this album..dah..dah..dah.. ' and he wasn't sure about it - which is natural when you think about the commercial, the economics ....... he said 'alright give it a go'. Went over budget but he decided that he would go with it and he hasn't looked back since, you know. That album is a ground breaking album and it's had a major impact on me in so many different ways. The social messages from it - the social conscience messages, the humongous skill levels, in terms of the musicians - just amazing - the whole concept - fantastic, absolutely, yeah. So that would be the worlds greatest album for me." Ciyo Brown: The Spa, Scarborough, 26th September 2015 Stevie Wonder: Songs In the Key of Life released 1976 Ciyo Brown https://onelp.com/atrium---face-out 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/images/651h4emo_fycotou6_pg49hf_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_fycotou6_k45yir_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_fycotou6_xkhrge_JBRUCE_swb_WEllis.jpg Jack Bruce BAND ON THE WALL: MANCHESTER, 24TH MARCH 2011 I was very sad to hear of the passing of Jack Bruce and would like to share with you my recollections of once meeting him when he kindly agreed to be in the project and how he has been an inspiration to me from an early age. I’ve played electric bass since I was around 15 when a school friend who was having guitar lessons asked if I would like to try and get a band together. I got a Hofner Senator bass for Christmas and set about learning to play Willie Dixon tunes – twelve bar blues and rock and roll. I had no knowledge of bass except for noticing Paul McCartney only had four strings on his guitar… As my interest in the instrument grew I became aware of other players – Jack Bruce was at the forefront. Even with my very limited outlook I knew he was like nobody else and he became my bass hero with Cream. I heard that he was playing at Band on the Wall in Manchester I decided to approach him with the help of friends at the wonderful venue to invite him to be in the One LP Project. It didn’t start well, Jack’s response to the invitation was not positive – in fact he thought it a stupid idea. I wouldn’t give up and decided as he was on tour - and quite understandably perhaps he hadn't had the time to get the full information so I wrote again clarifying things and emphasising the key interview aspect. It turned out Jack’s initial impression was that it was just a photograph of him with the record. So I understood his initial reticence – particularly from the point of view of a man who had survived everything and every situation thrown at him through the sixties and beyond and wouldn’t waste his time on stupid ideas. He kindly agreed and we arranged that the shoot and interview would take place during the first set when his 'Big Blues Band' with another bassist were playing and Jack would have time to get in, relax and do the session. So I set the light up - in a white room, tested and waited for Jack to arrive, soon he came downstairs with his road manager. I introduced myself to the road manager and was told that Jack would do the shoot after the show, which was not good news in as much as I knew he would be tired and perhaps less inclined to go ahead. I had brought along a mounted print of Charles Mingus’ beautiful carved Barbary Lion bass head for him as a gift and gave it to his road manager, who was so helpful, I'm sorry I can't remember his name. He took the picture into the dressing rooms to give it to Jack who almost instantly he flew out of the room asking me in the manner of a barrister: “Who had the bass?” I was surprised at this question and replied (and quickly I can tell you) - that Sue Mingus had it and I’d photographed it after a performance in the Old Fruit Market in Glasgow. Acquitted of implied charges he thanked me and returned to his dressing room. Exciting times - I’ve no idea why he asked except perhaps in a protective way concerned about who had access to such a unique historic instrument. I stripped the light - a Bron pack and ring-flash, and went up to the concert as Jack was preparing to go on at the side of the stage, I took a few frames but was being very careful not to get in his way. After he went onstage I noticed his spare bass and I thought – now or never – I asked if I could hold Jack’s spare bass – his road manager obviously could spot that I was an absolute fan and said ok. I feel a bit silly telling you this but it's part of the story of how special - and challenging the evening was from my perspective. I held it and silently for a moment then played a couple of notes and handed it back before the spell was broken. I don’t know whether he told Jack what had happened, I think he would have smiled - actually I think he would have laughed. I took some photographs during the performance and a few minutes before the end I went to set the light up again and wait. Shortly afterwards the guys came down the stairs and Jack headed for his dressing room. After around 10 minutes I knocked on the door, really not knowing what to expect. I know it’s tough on the road and every moment you can relax is important, I wouldn’t have blamed him had he finally declined but thankfully when we spoke he was still up for it. The session is usually done in 3 – 4 minutes, I like to work fast to capture the energy as thoughts and emotions come to mind when people connect with and talk about an album that’s very dear to them. Back to Jack, we were at the last crucial stage and I felt we'd been through quite alot together in a couple of hours. I felt somehow and we might be right on the cusp of something special when Jack said: “Do you mind if I’m in disguise?” “No,” I answered, “not at all.” He was offering to do a lot more than he needed to do; he was collaborating with me to create the picture. Jack left for a moment then came back into the white room and stood just as you see him in the portrait, hands just so. The Rock Star - or maybe it was a disguise. Throughout his career he had always played the music he wanted to and if that meant being a rock star from time to time he did it. He spoke about his One LP:- "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 compositions 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." I was mesmorized when I heard this prose from a truly great artist. He had transformed what at times had seemed a hopeless quest into an unforgettable touching experience which I shall always treasure - working with a boyhood musical hero of mine who was heroic in his life’s art in so many ways. Jack Bruce: 1943 - 2014 Jack Bruce © William Ellis https://storage.neonsky.app/651h4emo/images/651h4emo_fycotou6_a2ms3m_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_fycotou6_n2bhwt_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_fycotou6_2oo3hq_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_fycotou6_k871gv_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_fycotou6_vme0b9_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_fycotou6_tznhi5_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_fycotou6_xzq8wv_SOWETO-KINCHwb_WILLIAM-ELLIS.jpg Soweto Kinch: Musician, MC 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 Wynton Marsalis: Black Codes (From the Underground) released 1985 Soweto Kinch https://onelp.com/third-floor-section-1 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/images/651h4emo_2s5illog_lm5vs3_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_2s5illog_weak21_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_2s5illog_i8j4va_Anita_Wardelw__WEllis.jpg Anita Wardell: Musician ABBEY LINCOLN: IT'S MAGIC "It is so special because, as many people know, that Abbey Lincoln passed away earlier this year [August 2010] and I have always been really inspired by her. From a very early age, she was one of the – you know, after Ella Fitzgerald – she was the next person I really got into. So I am a massive fan of her and I’ve got all her albums. The reason I chose this is because I think this is one of the lesser-known ones but there’s beautiful tracks on here and the one that I really love is “Exactly Like You” because I listened to another version of this by Carmen McRae, which I love, and when I heard this version I loved this equally. You know, it’s the way her sentiment, the way she gets the lyrics across, are so different to a lot of other singers. She is very deep when she sings and you can really hear a lot of emotion. Not in the same way that you can with Billie Holiday but you know it’s coming from a real spiritual sort of place, when she plays and that’s why I love her." Anita Wardell: The Spa, Scarborough, 26th September 2010 Abbey Lincoln: It's Magic - released 1958 Anita Wardell https://storage.neonsky.app/651h4emo/images/651h4emo_2s5illog_6tquhc_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_2s5illog_i0c3q9_BILL-LAURANCEwb_-WILLIAM-ELLIS-copy.jpg Bill Laurance: Musician HERBIE HANCOCK: SUNSHINE “So my album of choice - it's a tough one - always a tough one! But if it has to be one then it would be an album called 'Sunlight' by Herbie Hancock which I first heard when I was 13 years old, on the way to Italy actually. I was in a car and I'd just bought this record on CD and I put it in my little CD player and I remember being sat next to my dad listening to it on my headphones and it was just a kind of epiphany. I felt like I was finally hearing a sound that I'd kind of always been looking for almost. There's something about this album, it basically bridges the gap between instrumental groove and improvisation and then full symphonic classical arrangements and orchestrations. So it's kind of bridging the gap of these two worlds in the most eloquent and groovy and original way I'd ever heard, you know. And so, yeah, it was kind of like a very significant moment of inspiration. I felt like this was my kind of template for a sound when I was like 13...14. It's something I've, ever since, been striving to kind of recreate my own version of (laughs). WE And were you playing at the time Bill'? were you playing keyboards then already? “¥eah, yes. I'd pretty much been writing since I was really young and trying to find a sound that kind of satisfied me but I was always, you know, trying to categorize myself whether I was like .. jazz - whether I was making a jazz album or a pop album or, you know, an electronic album. And hearing this kind of made me realize that actually you know you can have all these genres together, they can work side by side and actually that's really exciting when they do you know. Actually rather than thinking - categorizing yourself is a constructive thing - I think it can actually be limiting, you know... to kind of disregard genre as such and just sort of embrace all the music that I've come to love anyway is what I've started to do and I feel like this album was the initial inspiration of that. The other thing is, just the visual, the kind of artwork itself is just legendary because it's just him and his kind of, you know, 70's attire with a gold chain and looking like really for disco times with his sort of semi Afro on the cover and then on the back you have this kind of laboratory of keyboards. I remember just seeing it and just like. looking like the end of the rainbow for me.. just all these incredible analogue synthesizers and a Clavinet and just.. I just think it's such a cool way of kind of identifying where all these sounds came from and it's just him in the middle of this little kind of keyboard laboratory ... yeah great stuff.” Bill Laurance: Band on the Wall, Manchester, 8th March 2016 Herbie Hancock: Sunshine released 1978 Bill Laurance https://storage.neonsky.app/651h4emo/images/651h4emo_2s5illog_40cpqm_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_2s5illog_xer3e7_BENNY-GOLSONwb_WILLIAM-ELLIS.jpg Benny Golson: Musician Dizzy Gillespie and Dexter Gordon: Blue 'N' Boogie "Well - I've been around for a long time, and during the time when I got started there were no such things as albums so there were no covers! Cause there was a time of the 78 recording with 3 minute at tops for each recording, so whatever the person was going to present they had to present it within the 3 minute framework. Sometimes you didn't get the bridge of the song and they went out and things like that so they had to gear it for the 3 minutes and that's what I grew up with when I started that's what was going and later the 33 1/3 records came into existence - and they weren't 12 inch LPs they were10 inch LPs! And then later the 12 inch LPs came, yeah. And then later the albums came with the album covers at was much later though - it wasn't in the beginning! I had many heroes in the beginning, my first one was probably Coleman Hawkins and then Don Byas, Ben Webster, Lucky Thompson but then one that really got me down the line was a fella named Dexter Gordon. And he made a recording with Dizzy Gillespie and when I heard that my life changed again - it changed when I first heard the saxophone but when I heard that recording Dizzy Gillespie and Dexter Gordon it opened up something else for me cos his style was different from Coleman Hawkins and Don Byas and Ben Webster, it was another sound - even different from Lester Young. Like I said it opened my ears up when I heard that and I started trying to do other things because at that time I didn't have my own interpretation or concept - like money in the bank to reach in and do what you want to do, I had nothing in to reach in to get. So I was eclectic, imitating everyone - piano players, guitar players trying to understand what this thing called jazz is all about.Especially improvisation cos that's what jazz is all about. Nobody comes to hear the melody over and over again - after the first run of the melody they want to know what you've got on your mind musically! And you have to have something to say: you should have - and it takes a while to get to that point. Dexter had something to say in a little different way than the others, and to me, at that time - it's a long time ago - it was pretty hip, pretty hip. And from there you continue keep reaching - reaching then eventually you develop your own sound - whatever that is, and even when you develop your own sound and after a while maybe you even want to modify your own sound maybe wanna hear something else. Then you go through periods like Picasso did you know, like Cezanne came in: with the Cubism - then he went to pointillism and he went through many things. I saw some of the things that he did he did as a student and the anatomy was almost like a photograph - and then later he had one eye up here and one below and the nose over on the side and you maybe ths guy doesn't know anything about anatomy - he did - but he had a different perception as time went on. He went to pointillism which looked like little vertical scratches - I mean incredible what he did! And musically that's what we sort of do as we continue to reach. We think - while we're striving 'at this point' - whatever this point is, 'I'll be satisfied.' But when we get to that point somehow we're not satisfied - we're always striving to best ourselves - to get better at what we do, and to understand our selves better. Because what jazz is all about is improvisation and when you improvise you're bringing into existence things that had no prior existence - it didn't exist. Whether it's 2 notes or whether it's a whole series of notes - your playing them that particular way did not exist. So you have to have - imagination. If you are going to create something that had no prior existence you have to imagine things - because they don't exist! And that's like an adventure I fancy it's like a big game hunting like a safari but we're only we're not hunting live game - we're hunting new concepts - new ways of doing the old things, new ways of expressing yourself. These extrapolations sometimes are just as important as the new discoveries, because you're bringing new life to it and you're presenting it in another way, Dizzy Gillespie during that time when he was coming up, that's what he was doing - he took the old tunes like 'Whisperin' and putting another melody on the chords and calling it 'Groovin' High'. Tadd Dameron took 'What Is This Thing Called Love' put another melody on the chords and called it 'Hothouse'. So this is an exciting time - 'Ornithology' was 'How High The Moon' and then it went on from that to total different concepts, different titles and different melodies. In the beginning we used the old structures 'What Is This Thing Called Love?', 'Whispering' as time went on we did away with those and came up with our own concepts, that's how I came up with 'Whispering' - 'Stabemates' and whatnot. It wasn't 'What is Thing called Love?' any more - It was something entirely different, but we had to graduate to that point because we were going into areas that didn't exist - and we were like the pioneers goin’ into - opening doors along the corridor to see what's behind these doors. It was like an adventure everyday, couldn't wait to wake up to try again. What can I do today better than I did yesterday? Where am I going? You ask yourself all those questions - what is it I want ? What am I trying to achieve? And sometimes we didn't even know that. Everything was so new - so all those early days were like an adventure. And still today - I'm an old guy today - but I've still have my ears open and I still think there are things I would like to that I haven't done yet even in my old age you know And it's still has that sense of adventure to it - yeah. It's creating things - improvising - what you're doing on an instrument or pen on paper - which is a form of improvising. It's exciting and it's adventurous and I think I'm still a part of that because it still awakens certain things within me creatively and I don't want that to die - I don't want to lose that - if I lose that I might as well get a job as a wash room attendant or selling groceries. Yeah - I love this music called Jazz. And as Sonny Rollins said "There's no end to it." Nobody says - 'well I'm at the end of it and I don't need to study any more - I know all there is to know.' There is no such thing -and no one person knows everything,so we keep going ahead. Some of it's good, sometimes some of it's bad - stinko, and we reject it start over again but it's a great thing trying to arrive at these things. Oh yeah - and when you achieve it - oh it's like giving birth all over again, we wait in that maternity room and wait for the slap on the butt - it's alive! Yeah - it's an adventure of sorts - yeah - and I'm committed, I really am, and I guess like Sonny Rollins said "There's no end to it." They ask me a lot of times - "Mr.Golson - what is the favourite tune that you have written." And my answer's always the same "I haven't written it yet." There's always something to do." Benny Golson: The Royal Conservatoire of Scotland, Glasgow, 17th September 2015 Mr Golson cited a recording of Dizzy Gillespie with Dexter Gordon, I deduced Watson that it's Blue 'N' Boogie. The Dizzy Gillespie Sextet with Dexter Gordon released 1945 Benny Golson Special thanks to Tommy Smith for kindly arranging the session. https://storage.neonsky.app/651h4emo/images/651h4emo_2s5illog_cmup9g_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_2s5illog_geh9vd_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_2s5illog_mty9zd_CAROL-KIDDwb_WILLIAM-ELLIS.jpg Carol Kidd MBE: Musician THE TONY BENNETT BILL EVANS ALBUM "It's 'The Tony Bennett and Bill Evans Album' - two reasons - I adore Tony Bennett - and I adore Bill Evans! I found this album and the one song that absolutely touched me was 'Waltz For Debbie'. I think Bill Evans wrote it for his daughter. That song grabbed me on the whole album - so much so that I asked my piano player to do the charts for it and I started to perform it and I was able to record it myself which was a real joy. 'What kind of jazz album would you like? ' For me it would be a singers album. So that's really the reason I chose that one. WE Would you say that was a formative album for you? CK Oh it was definitely - I recorded that in 1986, so I was listening to that probably from the early eighties. That would be the album I would put on if I just wanted to sit back and relax and listen to this beautiful piano playing - he was adorable and Tony Bennett's amazing voice. It was a real inspiration for me, especially the fact that he was singing with just piano. I'd been tinkering around with the idea but as soon as I heard that I said 'I can do that - I can do that - I can do lots of songs just with piano. It was very inspirational." Carol Kidd: Glasgow, 8th October 2015 The Tony Bennett/ Bill Evans Album released 1975 Carol Kidd https://storage.neonsky.app/651h4emo/images/651h4emo_2s5illog_sw0786_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_2s5illog_7eadb8_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_2s5illog_ylb6bc_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_2s5illog_6g1wze_GILL-ALEXANDERwb_WELLIS.jpg Gill Alexander: Musician, artist GERRY MULLIGAN: GERRY MULLIGAN QUARTET - VOLUME 1 “I had been brought up on classical guitar from the age of nine and then I had various stupid accidents to my fingers when I was about twelve which really ruled out classical guitar. I went on to harpsichord for about four years then I went to art school - Chelsea Art school, and I got into blowing instruments like, you know - clarinet and alto. And I started The Temperance Seven at Chelsea and was playing banjo - which was incredibly boring - so I left and of course they shot to stardom after I left (laughs). But I heard Gerry Mulligan - I think it was in the mid 50's - and that was just like a starburst. It was incredible because the music was without chords and I could hear these lines going along and it reminded me so much of the harpsichord music that I'd been playing. I rushed out and I bought this very ancient LP, which is all yellow as you can see. A favourite one on this LP is ‘Soft Shoe’. I do have another one, another LP somewhere which has 'Line for Lions' which I absolutely adore as well. It's so nice that I still have this LP and it's still playable. That just turned me onto modern jazz - straight away, I sort of never looked back - I didn't look back at Temperance Seven either! That's really how I sort of got into jazz in that way, but I didn't actually buy a double bass till I was about 25. It was my father who was always very interested in all instruments who told me that there was a shop in the High Street somewhere and he said 'Oh there's a double bass going there for £12.’ It was a little chamber bass with great thick strings which had all ripped and were very rough - gut strings - £12. So I saved up for this and I bought it. I think it was 1960 and I wasn't doing very well at all with my painting. I was, you know, quite desperate - I wasn't making any money at all. I was doing all sorts of jobs .. anything at all ... like sign writing or cleaning picture frames, anything at all. I was hardly making any money at all and starving away. So I was so thrilled to get this instrument. I just played and played and played. I put on records... played to records. And, of course, because my parents had always been interested in jazz and always used to play jazz on their gramophone I was interested in jazz and I could tell how many bars were in a 12 bar blues.... that sort of thing so I was able to hear the chords going and recognise a lot of the tunes on the LPs that I had. After a fortnight this friend of mine came, this guitarist, came along and he said ' Oh, there's an ad in this magazine I've got, it's called The Melody Maker, and somebody wants a bass player for a gig - for tonight'. So I said 'Don't be ridiculous I've only had this for a fortnight, how can I possibly...' He said ' Well it's worth 7 and 6'! - and that was more than I earned in the week before so I said ok. So the bass didn't have a cover, and I didn't have a car so I just got on a number 22 bus, with it standing on the platform and me holding it, and went to this place - Parsons Green I think it was - and went to this little hall and I played in this little band, a Dixieland band, and found the guys in the band didn't seem to know how long a 12 bar blues was. So I thought 'Well, if they can earn all this money and not even play properly I'll continue so I did - and that was it really!” We spoke a while longer - Gill recounted playing with many of the leading American musicians - including Sonny Stitt. “He wore a huge white stetson and drank lots and lots of water - I think that’s what killed him!" Mr. Stitt had given up alcohol. Gill Alexander: At home, Needham, 23 February 2016 Gerry Mulligan: The Gerry Mulligan Quartet Volume 1 released 1952 Gill Alexander-Levin (Artist and Tithe Barn Music/Arts venue, Norfolk) https://storage.neonsky.app/651h4emo/images/651h4emo_2s5illog_1jswc0_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_2s5illog_tnvuqx_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_2s5illog_r8dcgd_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_2s5illog_umwqif_MARCUS-MILLERwb2_William-Ellis_-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" released 1958 Marcus Miller https://storage.neonsky.app/651h4emo/images/651h4emo_2s5illog_7hp6gn_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_2s5illog_i8d2wr_ORBERT_DAVIS_wb__WELLIS.jpg Orbert Davis: Musician CLIFFORD BROWN: CLIFFORD BROWN WITH STRINGS Orbert Davis, co-founder and Artistic Director of Chicago Jazz Philharmonic. "This is Clifford Brown with strings, I was a teenager when I first heard this incredible album - the depth is in it's subtleties - and Clifford is so perfect with the string writing of Neal Hefti. It's a true blending of classical and jazz. The first thing I knew - this is funny – I recognised the name Neal Hefti from the Batman theme! For me as a trumpet player I study Clifford Brown - as an arranger I study Neal Hefti, so this brings both those worlds together - and it did so when I was back in high school when I discovered this recording- this is my One LP!" Orbert Davis: Symphony Centre, Buntrock Hall, Chicago. 15th May, 2013 Clifford Brown with Strings: arranged and conducted by Neal Hefti released 1955 Orbert Davis Chicago Jazz Philharmonic https://storage.neonsky.app/651h4emo/images/651h4emo_2s5illog_59xo5b_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_2s5illog_201h8j_PETER-ERSKINEwb_WILLIAM-ELLIS.jpg Peter Erskine: Musician STAN KENTON: CUBAN FIRE! “Johnny Richards’ writing has always struck me as being bold, exciting, brash, tender AND noble. ‘Cuban Fire’ is his masterpiece, and the Kenton orchestra of the 1950’s with Mel Lewis propelling a stellar group of horn players and soloists and percussionists— including my teacher George Gaber who played timpani on 2 cuts — is the height of big band ecstasy for me. I’ve treasured this album ever since I was young, and listening to it still gives me goosebumps, inspiring me and reminding me of why I’ve always wanted to play the drums. Choosing ‘Cuban Fire’ as my One LP disc was an easy and natural choice.” Peter Erskine: Stage right, The Bridgewater Hall, Manchester, 20th November 2015 Stan Kenton: Cuban Fire! released 1956 Peter Erskine https://storage.neonsky.app/651h4emo/images/651h4emo_2s5illog_dsao3w_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_2s5illog_8pchai_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_2s5illog_7f36w7_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_2s5illog_vrypch_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://onelp.com/third-floor-section-2 2026-04-06 monthly 0.8 https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_rb0puf_ALEX-WEBBwb_WELLIS.jpg Alex Webb: Musician CHARLIE PARKER: CHARKER PARKER ON DIAL "Well, it's Charlie Parker on Dial and it's a particular Spotlite LP of those classic Dial records with, you know, 'Embraceable You' ... 'Scrapple from the Apple' and those immortal bebop things. And the point is that I actually remember going into a listening booth in a Hemel Hempstead record shop and hearing this stuff for the first time - back in the fourteenth century..... I wouldn't say I understood it or even enjoyed it - but I knew I'd just stumbled into Aladdins cave. I knew there was something there and I went and I bought a Charlie Parker LP on spec and I listened to it until it made sense, and that music has stayed with me and inspired with me ever since." Alex Webb: The Spa, Scarborough, 26th September 2015 Charlie Parker: Charlie Parker on Dial released 1970 Spotlite Records Alex Webb https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_878n6h_HANNA-LUTKINwb_WILLIAM-ELLIS.jpg Hannah Lutkin: Production Manager LOUIS ARMSTRONG: MUSIC FOR THE MILLIONS "Well mine is a Louis Armstrong tape that I got from the charity shop just as I kind of started getting into jazz and doing the festivals. I picked it up for about 20p I think and my car still has a tape player in it so I get to make the most of all these bargains. And it's probably about 10 years ago now and this tape has stayed with us and played and played. Me and my husband used to play it a lot together and now we listen to it with our children now all the time. And I think we did a journey the other week that was three hours and we listened to it straight the whole way - just all the way round and they never asked to take it off - so it was great!" Hannah Lutkin: The Spa, Scarborough, 27th September 2015 Louis Armstrong: Music For The MIllions Louis Armstrong https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_76307f_WINSTON-ROLLINSwb_WELLIS.jpg Winston Rollins: Musician GEORGE DUKE: A BRAZILIAN LOVE AFFAIR "Well the album is George Duke 'A Brazilian Love Affair'. Now this album, it was amazing album when this was first released because if changed my perspective of everything. It's a Latin based Brazilian style album and it just opened my eyes to that sort of music. The musicianship on that album is amazing and listening to trombone players like Frank Rosolino, J.J. Johnson, Carl Fontana. I was introduced to a trombone player called Roul De Souza, who played the valve trombone and it was the first time I've really heard the valve trombone and the solo was amazing - on the track - but the whole album was inspiring and that's all I can say." Winston Rollins: The Spa, Scarborough 26th September 2015 George Duke: A Brazilian Love Affair released 1979 Winston Rollins https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_3z457m_MARIAN-GORDONwb_WILLIAM-ELLIS.jpg Marian Gordon: PA to the Director - Scarborough JF MORE FOUR FRESHMEN AND FIVE TROMBONES "I bought this LP when I was a student in London, so that would be in the late 60's. And when I went to college I took my record player and my vinyl and it played loud all down the corridor and all my mates at college thought it was the most awful stuff they'd ever heard in their entire life - but I've always loved close harmony singing and that's what this record is all about. It's four wonderful male voices and five trombones and nothing else at all. And for me it was the beginning of enjoying jazz and I still love it." Marian Gordon: The Spa, Scarborough, 27th September 2015 Scarborough Jazz Festival https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_tovisx_GERALD-CLEAVERwb_WEllis.jpg Gerald Cleaver: Musician ANDREW HILL: POINT OF DEPARTURE "Yeah, it's Andrew Hills 'Point Of Departure'. And why it's special is because Andrew Hill, among many other greats really changed my world perspective on the music - the way it combined elements of ... I guess you call it inside or traditional modern jazz with the freer elements that were happening at that time you know. And that combination of players - Eric Dolphy, Joe Henderson , Kenny Dorham, Richard Davis, Tony Williams - it's like, sort of, my dream band for being inside and outside at the same time. So, yeah it kind of revolutionised my conceptual (view of) what was possible. That band in particular kind of idealized for me what I thought New York was about - marrying all of those elements so I - when I got to New York - I thought 'oh wow it's great anybody can do everything all at once' you know. So I even formed a band sort of around that idea. A band called 'Violet Hour' which had a lot of great players kind of in and out all at the same time. So over all of these years since first discovering it - it's still a super important conceptual landmark for me." Gerald Cleaver, The Spa Scarborough, 27th September 2015 Andrew Hill: Point Of Departure released 1965 Gerald Cleaver https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_i0pj3j_ALAN-ROSSwb_WELLIS.jpg Alan Ross: Proprietor Jazz House Records OLIVER NELSON: THE BLUES AND THE ABSTRACT TRUTH "It's Oliver Nelson’s 'Blues And The Abstract Truth’. I love it mainly because the music is so wonderful but also because they take the two basic elements of Jazz which is the blues - and I got rhythm, and Nelson's writing is so magnificent it kind of transforms these very basic forms and the quality of the musicians he employs on there - Freddie Hubbard, Eric Dolphy, Bill Evans - they're just so superb they bring to the music a life and a vigour that's life affirming and really rather wonderful." Alan Ross: The Spa Scarborough, 27th September 2015 Olive Nelson: The Blues and the Abstract Truth released 1961 Jazz House Records, Leicester https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_ppuuqb_MIKE-GORDONwb_William-Ellis.jpg Mike Gordon: Director - Scarborough Jazz Festival ELLA FITZGERALD AND LOUIS ARMSTRONG: ELLA & LOUIS "This was one of my first favourite records. It goes back to my army days and National Service when there was a guitarist I knew who loved it and played it all the time. Then when I was a student and worked at Butlins I shared a chalet with six Irish students It was wild and you never knew who was going to be back there at night but when you went in and you put the light on Ella and Louis filled the air. One guy had attached the record player to the light! Very romantic! I can hear the first two notes of anything on that CD and know which tune is coming up. It’s not Louis’ greatest trumpet playing but Ella and the Oscar Peterson Trio are fantastic." Mike Gordon:The Spa Scarborough, 26th September, 2010 Ella Fitzgerald and Louis Armstrong : Ella and Louis released 1956 Scarborough Jazz Festival https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_jqilbs_BOB-KOESTER1w_-William-Ellis.jpg Bob Koester: Founder Delmark Records JUNIOR WELLS: HOODOO MAN BLUES Bob Koester talks about Hoodoo Man Blues, his life in music, the ins and outs of running the longest established independent American jazz and blues label. BK: That’s paradise. It’s freezing. We had a lot of snow a couple of days ago. WE: I was here actually. I got in on Sunday night from Los Angeles… BK: Oh I see. So you saw a little bit. WE: ..and it was chucking it down when I landed. BK: Maybe the last of the year [knocking sound]. That’s not wood though, that’s plastic, so that doesn’t count. WE: That’s wood. BK: Good to have a wood desk, that’s true. WE: I love all these as well. These are amazing. (rare 78s) BK: That’s a bunch of stuff we just bought. We keep them naked until a couple of regular customers see it so they know that there are new arrivals. WE: To check the condition. BK: Sure. WE: How long has this shop been here, Bob? BK: I’ve been here for 10 years. I was upstairs for 5 years. I was a block and a half away from 1962 and I have been in the business 61 years. WE: Wow. BK: I started in St Louis. Actually a little before I had a shop, I sold records out of my dormitory room at St Louis University for a year, mostly by mail. And then we opened a store, me and a friend. My friend collected Ellington and Billie Holliday and didn’t like any other jazz. He liked sweet bands so we only had to fight over two artists’ records. WE: Which jazz do you prefer, Bob? BK: Well, I like everything from early New Orleans jazz up through swing. Bebop I can understand now. The avant-garde, I record a lot of avant-garde on Delmark but it’s not my favourite music and I can’t say I understand it all but jazz changes over the years. As it goes from place to place it changes. Even in the traditional jazz era there was Chicago style, New Orleans style. Almost every major city had its own style of trad. I call it trad, I don’t like the word Dixieland. It’s basically…it’s seems vaguely racist somehow, I don’t know. Maybe a putdown, you know. But the south has done a better job of recovering from segregation than some major cities in the north so Dixie is not so bad maybe anymore. The record you have photographed – Hoodoo Man Blues by Junior Wells – was, well, I started recording blues back in St Louis in early ‘60s and we’re best known as a blues label. We have a little over 500 titles in our catalogue and a little less than half of them are blues – around 225 blues records. Bunch of trad. Bunch of modern. A few big band records. Quite a bit of avant-garde lately. The Hoodoo Man Blues was the first time a Chicago Blues Band went in the studio to make an LP, to not be confined to 2 minutes and 45 seconds or 3 minutes and 45 and I didn’t even realise that until about 20 years ago that we had a first, I have to say, Chicago working blues band because Muddy Waters did a few LPs with studio groups prior to that. There might have been some others that I can’t think of right now. It has been a major seller for Delmark. It won a Grammy as a classic blues record. Memphis Blues Organisation gave it an award. Quite a lot of good reviews. Sold…I don’t really know I think we’re approaching a third of a million, maybe half a million since 1965. That’s 40, almost 50 years. More than 50 years. Like the year before last, we sold 2000 LPs and 4000 CDs but that was a little more than usual. Usually, it’s 4 and a half, or 5 thousand but that year we did an expanded CD version of it, and raised the price a little bit. That’s about all I can say is that I can’t take much credit for how good it is because I just watched while Junior Wells produced it. It’s got Buddy Guy on it, by the way, who was Junior’s guitar player at the time although he had made records on his own. But that’s not unusual for sidemen in bands to have records on their own. And the story I sometime like to tell is Buddy didn’t wanted to ruin a little relationship he had with Leonard Chess at Chess Records so he said “maybe I should call Chess and see if it’s ok for him to be on the record”. Chess said [imitates voice] “OK. But he does his thing and you don’t use his motherfucking name” or maybe “the motherfucker better sing but don’t use his name”. So the first 7000 copies which covers the first 4 or 5 years, he is referred to… Well, there was a British chap working for me. A British guy, I should say, working for me. And I said, “what’s a good pseudonym for Buddy Guy?”. I thought I’d let him come up with a pseudonym and he said [British accent] “Well, a buddy is a friend and a guy is a chap so why don’t you call him Friendly Chap”, which we did. His name was Peter Brown. He later put out some reissued records in Englend, when he went back to England. Worked for me for a year or two, I think. Good man. Really good man. In fact, we had three Brits in a row, one of whom was somehow in the royalty. They had some deal over here where they didn’t have to pay income tax for a year and they took full advantage of that. Wait a minute, was there another one? Yes. Another guy. Man, I had a stroke 8 years ago and I fucked up my memory. He’s an active musician in New Orleans. Oh no, he’s from Sweden! But we’ve had several guys from other countries work here. So Junior was not as well-known then. He was known to blues collectors but in 1965 most of the interest in blues was in country blues. It started in New York where they didn’t have very many blues artists. They had Brownie McGhee and Sonny Terry. They had Lead Belly until he died. They had Reverend [Gary] Davis, who was a street-singing gospeller, and they had Champion Jack Dupree, a piano player, and that was about the whole blues scene they had there. Brownie McGhee and Sonny Terry dominated and most of the criticism and most of the writing about music did not pay much attention to blues. A few enlightened, mostly traditional jazz people, were into blues and people like Hugues Panassié were into blues in the late ‘30s and between Panassié and the British just about everybody I recorded, and anybody you can name, went to England. Chris Barber had a lot to do with that. He would take a blues artist and tour him in England for a month and several of the guys he pulled over there, piano players, Jack Dupree and Eddie Boyd and I can’t think who else right now but several of them moved to Europe. They couldn’t move to England because it’s very hard for musicians to move there from any other country but Chris deserves a lot of credit for that blues revival. He was bringing blues artists over, I think, just about as soon as he split from the guy whose band he was with. I forget the other guy’s name, but he was a member of the band and the whole band pulled away. Anyway, there was this relationship between traditional jazz bands and blues and it gradually built up. In the early ‘60s, there was a big rock thing here. I’m sorry, not rock, folk music and Peter Seeger had all kinds of groups, some of them pretty terrible. Groups of more than two people tended to be pretty showbizzy but that developed an interest in blues on the part of a lot of young Americans. They could go from Peter Seeger to Brownie McGhee to Big Bill Broonzy and once it got to Broonzy they were in the Chicago thing because he was the king of the Chicago blues back in the ‘30s and ‘40s. Then pretty soon, it was like Muddy Waters. Well, Muddy would bring his band to gigs and well, we don’t want the band we want just Buddy and a harmonica player, you know, but they got the band and until Dylan used a blues band in one of his appearances at Newport and they put him down for that. It was a white blues band, the Paul Butterfield Band with Mike Bloomfield. They put him down for that. It’s sort of interesting when Muddy Waters first went to Europe the Europeans hadn’t quite got into the city blues bands to the extent that they did pretty quickly. But Muddy went to Europe and he played acoustic guitar. He didn’t like it but that’s what they wanted. Then the next year he went over and he had a nice acoustic guitar instead of borrowing one which he did the first time and they said “Where’s the band?”. They had changed that much in one year. WE: I guess it’s kind of the whole, like the Yardbirds, John Mayall, the British bands. BK: All that came out of…the Beatles started…Well, there’s a thing. Chris Barber in between sets would switch from trombone to bass. The drummer would switch to washboard and the guitar player, who had a major hit here and you know his name better than I do because I can’t recall it, would play guitar and they would do blues and call it skiffle. And as you probably already know, the Beatles began as a skiffle band, influenced by Chris Barber. Chris would do that between sets at gigs and concerts and then he would bring on the blues artists and then they would play with the blues artists. Chris had a hit over here and doesn’t play trombone on it, he plays bass. And I can’t exactly remember his name now. Very embarrassed, because he had a bigger hit. Bob Koester: Jazz Record Mart, Chicago, April 2014 Junior Wells: Hoodoo Man Blues, released 1965 Junior Wellls performs Hoodoo Man Blues Bob Koester: Founder and record producer, Delmark Jazz Record Mart - the world's largest jazz and blues record store. https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_vbg97f_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_6khagdfq_5p2x2g_GIANNI-VALENTIwb_-William-Ellis.jpg Gianni Valenti: Proprietor of Birdland OSCAR PETERSON: WITH RESPECT TO NAT "One LP - absolutely Oscar Peterson. He was a very dear friend of mine. He played for us at Birdland on a number of occasions. We became very close and I visited him manytimes at his home at Mississauga in Toronto. And one visit, we were in his studio and he said, ‘I wanna play you a disc.’ So we went into his little room and he had a wall of discs. He actually had recorded perhaps 250 discs, whether they were just a trio or with others. And he always kept a copy, a beautiful library. And he pulled one out and started playing it and he said, ‘What do you think?’ And I said, ‘Nat sounds great.’ It was a Nat King Cole song. And he said, ‘That’s not Nat.’ And I said, ‘Well, who is it?’ He said, ‘That’s me.’ And I says, ‘You’re kidding me.’ And he says, ‘No, this is an album I did after Nat passed away, With Respect To Nat, in 1965, on Verve Records.’ With his trio, with Herbie Ellis, Ray Brown and of course Old P at the piano. And the album is fascinating for me because I get to hear him not only as genius at the keyboard but hear him sing. And when you hear this album, you have to say, ‘That can’t be Oscar Peterson singing.’ You think it’s Nat King Cole. His voice and Nat’s were so similar. And he told me the story behind it, why he did that album. There was a running thing that the two of ‘em had. Cos Nat was an excellent piano player. Whenever Nat would show up at one of Oscar’s gigs, he would invite him up to play and Nat would go wild at the piano. And then Oscar would get up and he would play and he would sing. So one day after the gig, he told Nat, he said, ‘Let’s make a deal. You stop playing the piano that way and I’ll stop singing this way.’ That was it. So they were brothers, they loved each other dearly. And unfortunately when Nat passed away, Oscar was really taken aback. He was hurt to lose a friend like Nat. And this was a way to pay his respects to one of his dear friends, and of course the album is titled With Respect To Nat. And to this day, like I said, to hear Old P singing and playing at the same time, I couldn’t have chosen a more loving and dear album to me." Gianni Valenti: Birdland, New York City, 2nd April 2014 Oscar Peterson Trio: With Respect To Nat released 1965 Birdland https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_kgynx5_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_6khagdfq_bkmwe4_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_6khagdfq_pw4sf7_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_6khagdfq_cvw0th_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_6khagdfq_lu7awq_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_6khagdfq_kmvlcl_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_6khagdfq_nsxoby_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_6khagdfq_uko7gl_SEBASTIAN-SCOTNEYwb_-William-Ellis-copy.jpg Sebastian Scotney: Founder - London Jazz News HARRY 'SWEETS' EDISON: THE BEST OF HARRY EDISON "When I had to leave my old collection of LPs in an attic it was the one I wanted to hear first. The tune is called "Simply Sweets." The musicians are Harry Sweets Edison on trumpet, Dolo Coker on Electric piano, joined by electric bassist Harvey Newmark half way through. It was recorded in 1977. The composer credit is jointly shared between Edison and Coker - which suggests that it was probably cooked up on the spot - It has that feel of a gap-filler at the end of an LP side, I imagine it was done in one take, but it's a track I've always found captivating. It's the smear at the end of Harry Edison's phrase which I can't get out of my head. I guess it's what you call an earworm or what Oliver Sacks calls invioluntary musical imagery (INMI) Harry Edison was born in 1915,he was in the Basie band from 1937 to 1950 - and in later lifelived in the studios of Hollywood. He was part of Norman Granz's Jazz at the Philharmpnic -died in 1999. Sweets worked in partnership with other players, there are some great records with Ben Webster, and I remember he used to tour with Eddie Lockjaw Davis. The muscular tenor, and the laid back statesmanlike role were nicely contrasted. Dolo Coker was born in 1927 in Hartford Connecticut and died in 1983. Real name was charles, Dolo was a "regional dance" - I've read that Dolo Coker was brilliant dancer in his youth The Penguin Guide describes the tracks of this session as "lacklustre." and give it a grudging two - and - a half stars. That's fine by me. These 72 bars of magic are for my desert island." Sebastian Scotney: King's Place, London, 30th April 2014 Harry "Sweets" Edison: The Best of Harry Edison released 1980 Sebastian Scotney: Founder and editor London Jazz News https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_m47un1_T-D-EVANSwb_WILLIAM-ELLIS.jpg Tony Dudley-Evans: Jazz Promoter GIL EVANS: THE INDIVIDUALISM OF GIL EVANS "I have always loved Gil Evans' music, especially the way his arrangements provide a wonderful setting for soloists. I could have chosen one of the albums with Miles Davis, but I love the particular arrangements on this album. While I like the free-er end of the jazz spectrum, I also enjoy music for a larger ensemble with structure and the stunning texture we hear on this album." Tony Dudley-Evans: Symphony Hall, Birmingham, 12th January 2016 Gil Evans: The Individualism of Gil Evans released 1964 https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_wgr9qe_BOB_BARRY__William_Ellis-1w.jpg Bob Barry: Photographer DAVE BRUBECK: TIME OUT "Well, it’s Dave Brubeck’s Time Out album and I remember hearing it in the… was it the late ‘50s, early 60s? – I’m not even sure now – but it was in that period and I remember how the time changes and it was just one of the most amazing things I ever heard. I had never heard music played like that. I was amazed. I remember hearing “Strange Meadow Lark” which was one of the other tunes on there – there was “Take Five”, “Blue Rondo à la Turk” and a number of others but “Strange Meadow Lark” just profoundly struck me. It was like one of those songs that you remember for the rest of your life and it makes you feel something that you were feeling, in my case, maybe 50 years ago… or more. I just loved it. I just loved it. It was a changer for me – it was an earth changer in terms of my feeling about music. I’ve always loved it; I’m a big fan of Brubeck’s and I actually met the bass player Eugene Wright not too long ago and we talked about the album. It’s just a great album. It was like a pivotal point in American music, for me. In those days you didn’t say “hip” you said “hep”. Haha. Yeah. The Brubeck album was like the coolest thing I had ever heard in my life. It was just so way ahead of its time. I’d never heard any sounds like that before ever in my life. It just put a hook in me and I was a believer – I was a total believer." Bob Barry: At home, Hollywood CA, May 2013 Dave Brubeck: Time Out 1959 Bob Barry https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_f4lpoa_Don_Saban__William_Ellis-1w.jpg Don Saban: Photographer COUNT BASIE: KANSAS CITY SHOUT "Kansas City Shout featuring Big Joe Turner, Eddie 'Cleanhead' Vinson and Count Basie with orchestra rounding it all out, how can you go wrong? It has all your basic food groups…blues, jazz, swing, R&B and it rocks! And what makes it even more special is that it was pressed in translucent red vinyl! I never get tired of listening to this album." Don Saban: El Capitan Theatre, Hollywood Blvd, Hollywood, Los Angeles CA, May 2013 Count Basie: Kansas City Shout 1980 Don Saban https://storage.neonsky.app/651h4emo/images/651h4emo_6khagdfq_hb83kt_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