Jazz notes

Another one not to miss will be Django Bates at Wakefield Jazz tonight (01977 680542 and wakefieldjazz.org). To celebrate his 50th birthday, Django has made a recording of the works of his childhood hero, Charlie Parker. Unsurprisingly, the tracks are radical makeovers, but Bates’ enthusiasm for traditional bop piano blazes through and he is touring with Danish musicians Pettre Eldh (bass) and Peter Bruun (drums).

The north east’s number one trad band will be at Jazz In The Spa tomorrow night (01937 842544). The Maine Street Jazzmen are led by trombone and harmonica ace Herbie Hudson.

In something of a musical landmark, Fatha will play his final York gig as drummer with the Blueflies at 4pm on Sunday, at the Victoria Vaults, Nunnery Lane. So drop by to kiss him goodbye. Happily, he will continue to play for the jam session at the Phoenix, George Street (next Wednesday) and the Mardi Gras Band at the Old White Swan, Goodramgate (next Thursday).

Also playing his final gig in York on Sunday will be Brazilian pianist Zezo Olimpio and his Trio at Kennedy’s Café Bar at 1pm (01904 620222). Call in say goodbye to Zezo, who will be returning to Rio de Janeiro later this month. He will be greatly missed.

The Ian Chalk Quartet play the first and third Sunday of the month at the Phoenix and will be there at 8.30pm. The Kate Peters/John Marley Quartet plays the first and third Monday at the Phoenix, so catch them this Monday (01904 656401).

Scarborough Jazz runs every Wednesday at the Cask, Cambridge Terrace, and next week’s guests will be A Tribute To Atlantic Jazz (01723 500570). This talented septet specialise in music of such as Hank Crawford, Freddie Hubbard and the Adderley brothers, stars of the Atlantic Record label.

REVIEW

Andrew McCormack Trio, Live in London (Edition Records) ****

PIANIST/COMPOSER McCormack’s style is contemporary jazz with a strong classical influence.

The current piano trio mode in contemporary British jazz is democratic, drums and bass tossing the leading role around with the piano, which takes on rhythm duties and occasionally drops out altogether.

McCormack returns to the traditional piano lead, supported by the bass and drums, although they take occasional solos.

Tracks on the review copy are not quite as printed, so the mainly original compositions make naming difficult. Track one is an impressionistic, pastoral melody and it comes as no surprise that his keyboard finesse has been likened to Keith Jarrett and his classical training included work with Mark-Anthony Turnage.

Track two is in a similar vein, but with an increased muscularity and a move into an urgent rhythmic pulse. Chris Hill takes a fluent bass solo, with a piano ostinato and input from Troy Miller’s drums, before a return to the gently stated melody.

The minor key, driving syncopated rhythm and Arabic cadences of track 5 suggests a drama which fits the McCormack title Medina and Troy Miller takes a creative drum solo.

Apart from six original compositions, two standard warhorses are given startlingly refreshing rub-downs. The out-of-tempo and oblique opening to the familiar Bye Bye Blackbird is compelling, before the walking bass and drums join in to a two-fisted swinger reminiscent of Oscar Peterson. Smoke Gets In Your Eyes has a dead-slow, reverential statement of the familiar tune, with intriguing minor tweaking of the melody leading to a satisfyingly woody double bass solo for 16 bars, before the trio swings to a close. The appreciative audience whoops on this live recording are well –deserved for a virtuoso trio at the top of its game, high emotional intensity beautifully delivered.