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hastings jazz club at the white rock hotel |
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 (1920-1955) |
Archive Reveiw Alan Barnes Mike Hatchard January 2007 What a great way to start the year many laughs and some seriously
good playing from all three musicians. We were treated to two originals from Mike's Lewis Carol Suite,
Mock Turtle and Father Williams. The soprano sax line on Father
Williams was particularly exquisite and played to perfection
by Alan, the two numbers were such a welcome releif from the
standards. Mike then got us howling as he improvised the lyrics to a blues from three topics suggested by the audience - "Jade Goody, Fish and Chips and Kansas City". It was a great night with some superb playing from all three
guys and it was so good to have a laugh. Lynda Murray
Roundup 2006 Jazzworld has had a great first year with some very special people travelling down to this little seaside town on the South Coast. The ones that really stand out in my memory for their uniqueness are Chistine Tobin, Gilad Atzmon, Ian Shaw and Annie Whitehead. During the late summer and early autumn we had several generations of sax players play with their respective impressive rhythm sections, the young Rob Hughes, the maturing Tim Collinson, the well established Pat Crumly and the not so young Tony Coe. These are all good sax players who predominantly
play standards. The one that stood out Rob Hughes is a fine sax player and a very good flute player. He is in that transtition phase of leaving his David Sanborn funk influenced past and moving towards a more post-bop influnced stlye . His own compositions show flare and I particularly liked Buttlerfly which is the title name of his debut album. His band features a very talented Sam Edwards on piano, every solo met with great enthsiasm from the audience. I have been amazed and impressed by the standard of rhythm section players that are abound in Britain - without fail every band that has played at Jazzworld has had the support of an excellent rhythm section - the unsung hero's of the jazz world. Lynda Murray
Review Jazzworld Weekend Festival 7-8 October
The festival kicked off with an afternoon World Music concert that included music from Japan and Cuba. Clive Bell who specialises in traditional Japanese bamboo flutes wrote a piece of music especially for the festival on the Kern, the instrument that the mouth organ developed from. He also played several compositions on the Shakuhachi flute that were written by his accompanist, jazz pianist Taeko Kunishima. Neville Murray gave one of his special Cuban percussion workshops and had mums and dads playing drums along side their children. Sunday afternoon had a packed line up including, Trevor Watts and Jamie Harris, the Juliet Kelly Quartet and Lynda Murray, the festival director put together a short set with Liam Noble piano and Fred Baker bass, two members of the Harry Beckett Quintet who were playing later that day. The festival finished with a set from the Jan Ponsford Quartet and then music for the jazz connoisseur with the Harry Beckett Quintet. Harry's band has the ability to play one of Harry's compositions
and then totally demolish it in a completely original and interesting
way. The rhythm section was first class, the interplay between
Tony Marsh on drums and Liam Noble on piano was like watching
a finely choreographed ballet. Tony is like a butterfly, fluttering
around the drum kit and he is capable of bringing out the most
exquisite sounds imaginable from his drums. Likewise Liam is
capable of making the piano sound so sweet, rich and beautiful.
He can play melodically and then completely freely. Their concert
was a fitting end to an adventurous and musically exciting weekend. Review Asaf Sirkis Trio Jazzworld July 2006
I am not a lover of electronic music, I love the earthiness of wind instruments and singers so they would have had to be exceptional to cut the mustard with me. Asaf Sirkis (d), Steve Lodder (org) and Mike Outram (g) are excellent musicians but I don't think this music did their playing justice, it did not sound familiar but also it did not sound original. I could hear the Messiaen influence, the 1969 album Lifetime with Tony Williams (d), John McLaughlin (g) and Larry Young (org) also came to mind. Asaf's music is not new and fresh but a trip down memory lane. This excursion into jazz rock was astounding even audacious in the late 60's because it was pushing boundaries and fusion was new and exciting but now it seems a little passé. One other crucial reason that this band did not excite me is that there is a reason that most bands have a front man or a front line and a band made up of back line players very often lack charisma and focus for the audience. These guys are excellent musicians but there was something lacking. I did not feel the melodies were very powerful in fact his music would work very well with a film or some kind of visual story - a back drop for something else. The music was good but not exciting and stayed on one level for most of the evening although there were attempts to vary the rhythms and feature the individual players in different ways. In the second set one of his newer compositions called Minature featured a really interesting ostinato and the bands treatment of it was amusing, inventive and showed some originality. Maybe this is the future direction of the band and if they got a front-line player, who knows, this could be a band that will create some waves rather than a weak ripple. The audience was split about the music as well, half stayed
to hear the second set and half stayed up on the outdoor terrace.
It was a beautiful hot summer's evening and the terrace over
looks the beach and a very blue sea, wonderful, with the sounds
of live music floating up through the opened fire exit. This
was the movie for the music of "The Inner Noise". Review Gilad Atzmon Jazzworld June 2006
What a great musician and person. He looks really relaxed and yet is in total control. I am sure he would be able to turn Twinkle Twinkle Little Star into a stunningly inspirational virtuosic performance. Gilad plays with great artistry. He is the total package to be envied, praised, copied and enjoyed. Exciting, steaming - on fire, witty and thoroughly enjoyable. Roland Kirk was able to play 2 saxes at the same time and the flute through his nose. Well, Gilad can also play the tenor and alto at the same time in harmony - awesome. I have seen this feat done before and thought "so what" - it did not really enhance the music but when Gilad does this he finds a harmonic purpose for his antics and so the music is enhanced while he is entertaining us. He reminds me of Ronnie O'Sullivan when he is playing with his left hand. Sometimes it is to show off but sometimes it is because the shot can be better delivered with the left hand. Whatever the reason, the fact remains that they can do something that is extremely difficult and make it look so easy. Gilad has managed to unknowingly keep up a little tradition that is brewing at Jazzworld. Several of the musicians who have played at the club have brought a guest along, Gilad brings an instrumentalist, a clarinet player, himself. I book a sax player and I get a clarinet player as well. What a phenomenal clarinet player he is. We were enthralled. I do not particularly think that the clarinet suits modern jazz but he plays it as if bebop had been built on that instrument not the sax. I also managed to catch Gilad at the Vortex last Friday with his regular crew, Frank Harrison, Yaron Stavi and Asaf Sirkis. When Gilad is totally focused on his improvising something else takes over, time stands still and I become completely oblivious to everything around me, I am even unaware of the guys who are playing with him - it is quite a magical moment and I only know that it has happened because suddenly I am aware of the other guys in the band again. Every time this happens I wish I could resist the urge to fly with him just so that I could see or hear what the rhythm section do when he 'goes off on one'. How can they musically disappear yet still be there, still play, do their part and not get in the way and let Gilad fly. Both gigs were 'wicked' and both venues full. I am not alone in thinking that Gilad is great. Gilad asked me if he could come back to play Jazzworld again
and bring his own band. The answer can only be yes, yes, and
when! Review John Etheridge Jazzworld May 2006
John is a musician who shows exceptional ability, his technical
and creative playing is amazing. Some of the numbers in the first set were not to my taste a little too aggressive and funky but when he played the bebop number Wee by Denzil Best suddenly the trio of John, Terry Pack - double bass and Dave Trigwell on drums were on fire. Terry's playing on Wee was exciting and excellent. The second set where John showed off his dexterity, skill and virtuosity started with some African tunes followed by Doxy, Stormy Weather and Lullaby of Birdland they all segue into each other. John brought a guest, Liane Carroll and their duet The Nearness of You was extremely touching and it added another dimension to John's playing and of course Liane was marvellous. Her phrasing is exquisite and a fabulous diversion from the evening's instrumental music. I played on four numbers with the trio and I can't comment on my own playing but the audience were appreciative and someone even said they preferred it when we were playing as a quartet. Another great value night that delighted the audience. Review - Ian Shaw Jazzworld April 2006
Lynda Murray Audience Comments Karen How - All wonderful, the best for me was the Carley Simon number that Ian performed with Lianne - brilliant! Maressa Bossano - I thought the gig was amazing and I thought that the trio of "You've got a friend" was one of the most beautiful songs I've ever heard live. Judy Dewsbury: Last night was the best ever in terms of sheer entertainment. I was expecting nothing as I'd never heard of Ian Shaw, but got a musician so at ease with himself, so relaxed with his music. He has a really interesting voice, fascinating to listen to and to watch. He had us rocking with laughter. Book him again......NOW! Ann Kelly - It was a truly amazing evening, and as you pointed out where would you get buy one get 2 free in any other Jazz club, either in Hastings or anywhere else. Good work, you deserve a huge pat on the back and a round of applause for the quality of performers you are attracting to your club. World class performances and in a friendly intimate atmosphere. Your club is truly unique. Review - Annie Whitehead Quartet Jazzworld March 2006 She is original, rare, her playing is immensely enjoyable and she is a great asset to the jazz world. What a treat - her sound ranges from rich dark organic chocolate to sweet raspberry ice cream. Utterly yummy, I feel as if I have had the most delightful meal so satisfying that I really don't want anything else for the moment.
This gig had moments like that. Every member of the band is a strong individual player, but they work as a cohesive group, with a collective sound that is engaging and joyful. Rhythm, melody, delicate harmonies, they had it all. Annie opened this lovely gig with a dedication to John Stevens,
someone who I have very fond memories of. His project Search
and Reflect help me break down many barriers to letting go when
soloing and I will always be grateful for the work opportunities
the project created for me. Annie's opening note was awesome,
extremely difficult to pull off she played 2 notes simultaneously
on the trombone, and pull it off she did no warm up
just straight in, fantastic. The band, displaying excellent musicianship skills sparkled and shone like star professionals, playing their own mix of quirky originals with interesting covers and moving their form of jazz out of the swing mould. This is a band pushing the boundaries of what jazz is and in the process making it more accessible and enjoyable for non-jazz punters. Pete Burden a seriously good bebop player in Hastings thought they were fantastic particularly the electric bass playing of Jennifer Maidman. Most modern jazz players prefer the softness of double bass to electric but Jennifer manages to straddle across both sounds with her formidable technique, playing hard and gritty as well as soft and malleable, she played some truly memorable solos. I have not seen Liam drum for many months and he was on form. Fiery rhythms mixed with delicate brush-work, wonderful. What is it that makes a band above average? I like to think that the cohesion of the rhythm section plays a great part - Jennifer's electric bass playing was excellent, each solo stronger and more interesting than the one before. Steve Lodder on keyboards is an exciting, creative, reliable, and extremely fine musician, he played some really hot solos and this was all held together with Liam Genockey's distinctive drumming. A great rhythm section in jazz is usually a trio that listens to each other, they play as one but bring little bits of individualism to their own parts and crucially they know their job is to support the front-man and then shine when they are given their own spot. This group have nailed it. All the time I am aware of the music not of individual egos, which we all have, and when you are at a level of mastery of your own instrument a certain pride and ability in your playing can make it harder to merge into the collective sound needed for a good rhythm section. They follow Annie, they let her shine and when given their own spot they glow like a beacon in the dark. Very hard to categorise Annie's music, original with world
influences, unpredictable, no swing. Jazz has moved on, young
and old alike are finding new influences. Like Christine Tobin,
Annie does not play safe and rely on formulas gone before, she
is pushing boundaries and making the music more accessible to
a wider audience - if only the wider audience knew that there
is some form of jazz out here for them. About the White Rock the acoustics of the room are fairly
good, the ambience is great and the audience are always very
Review - Christine Tobin Quartet Jazzworld February 2006
Christine's music is eclectic she writes poems and sets them to music. She can make them sound like songs with a rich velvet alto voice that washes over you warming you and leaving you wanting more. Her phrasing is very sophisticated, her use of the mic impressive and always in total command of the music. He intonation is perfect and she can scat but does not over do it. Partner Phil Robson is an exceptional jazz guitarist he accompanies Christine in a very original way doubling bits of the melody or doubling and playing in harmony with the double bass, no simple strumming of chords for him. At times his playing is reminiscent of Hi-Life music West African guitar style. The guitar does not play rhythm but has its own ostinato melody that develops into something quite complex before bursting off into a solo but always adding contrast and supports. Dave Whitford on double bass played in a very different style tonight. His part was based around simple and complex ostinato patterns. No walking or running swing bass lines tonight. Dave is a very fine mainstream and contemporary jazz bass player and his adjustment of style for Christine's music is admirable. Thebe Lipere pronounced Tebi was excellent. He had the most amazing array of percussion instrument and sometimes just provided exotic sounds as a backdrop to some of Christine's music.A really great gig with a fantastic atmosphere at Jazzworld. Lynda Murray Review - Lynda Murray Quintet Jazzworld
January 2005
Lynda opened the gig with her own composition, Seascapes, a carefully orchestrated piece, drawing on the combined resources of drummer Dave Trigwell, bassist Terry Pack and guitarist Andy Williams who extracted a lovely ringing tone from his instrument. Lynda then followed with another of her compositions Serenade a delightfully moving take on the 6/8 country dance idiom. A firm favourite followed, the aptly titled 'Perky' built on a simple but very catchy phrase and it never fails to delight. Helen's debut was with Goodbye Pork Pie Hat a tribute to Lester Young with lyrics by Joni Mitchell. She exchanged phrases with Lynda's alto before giving us her account of the piece, which, to my mind, lacks a certain respect to Lester's memory, musically if not poetically introduced Helen best moment in the gig, in my opinion, was Moonlight in Vermont. In this number Helen amply demonstrated how far she has progressed from her top 50 hit in 1986, when she released her first single. Helen has recently moved to St Leonards and loves the creative arts scene down here. The gig at the White Rock Hotel may not have given her quite the buzz that her appearance during the Peace Conference at Wembley Stadium did when she confronted a crowd of some 4000 but the attentive audience in the hotel's Promenade Lounge reacted with spontaneous enthusiasm to her stylish performance. Stan Lodder Review - Carol Grimes Quintet Jazzworld December 2005
She sang several songs from her acclaimed album Mother. Having seen Carol sing at the Vortex several times I was very keen to have her at Jazzworld. It was a lovely gig with some truly memorable moments Carol is petite and has an amazingly a big voice for her physical size, her phrasing and depth of feeling are excellent. She is unique and a real pleasure to watch. Blues Roots have called her a 'national treasure' and I have to agree with them. Carol's has played in many big venues and will be the featured soloist in "The Shout's" performance in the 2006 proms at the Albert Hall, she has sung to a full capacity crowd at the Brighton Dome with the UK Funk Allstars as well performing with The Shout at the De La Warr Pavillion, Bexhill to thousands at the opening after its refurbishment. But what is truly amazing about Carol is that you will still find her singing and entertaining the audience in any discerning small jazz club. John Fordham review of her latest album Mother. The quality of the singer and the songs really invite a longer
exploration of the resources of the instrumentation - as on Sandy
Denny's Who Knows Where the Time Goes?, whose cello and vocal
choruses deserve more luxuriousness. But Grimes is typically
soulful and hard-nosed on Ian Shaw's Moira, while Ron Sexsmith's
Gold in Them Hills makes her seem as youthful as at any time
in the past 30 years. Joni Mitchell's Two Grey Rooms is reverentially
desperate, and the John Lennon title track cuts her loose on
the kind of wild, declamatory soulfulness that might perhaps
have played a bigger part in the set. But Grimes is a great UK
talent, and anything that nurtures her is to be recommended Review - Steve Lodder + Lynda Murray Trio Jazzworld November 2005
Not that she really went away but composer and saxophonist
Lynda chose an irresistible ensemble to accompany her on the first Jazzworld gig, Steve Lodder pianist and composer form the London scene, drummer Dave Trigwell and bassist Terry Pack. She introduced the session with some ad hoc improvisations which combined with some sizzling mini-breaks from Dave whetted our appetites thoroughly for what was to come. There followed a virtually seamless performance of her seven-part composition Stop. Conceived as a joint work with a video by Glen Veness, The group eased its way into New Dawn, the first of an intriguing set of composition. The Stop seven has great rhythmic and harmonic variety: New Dawn turned out to be an up tempo swing number engendering some really wild sounds from Lynda's soprano sax. Steve Lodder had set his keyboard to give a quick-fire organ effect to back his scintillating runs and responded with a superb solo. He was backed by Dave's restrained, light-fingered touch, from which he was to break out shortly with some real percussive fireworks. Terry Pack provided an admirable foil for the extravagances of his companions, always steady and musical, on the beat and conjuring up some memorable solos, as the samba piece Seascapes. Pinkie and Perky turned out to be a funky pair, and there
was even a 6/8 piece called Seascapes, its beautiful melody caught
my ear. |
for me was
Tim Collinson - his choice of material was excellent and it was
great to hear a very sensitive take on the Fredie Hubbard number
Little Sunflower, Lester Bennett his drummer started the tune
with some really expressive and subtle percussion work.
Hastings Jazz Club - Jazzworld recently
held its first annual jazz festival at the White Rock Hotel.
It was an extremely successful event with two concerts selling
out on the first day, Julian Joseph solo piano and the Joan Davis
Quintet with Tony Kofi. Julian's solo piano recital was made
particularly special by an impromptu duet with Liane Carroll
who is a local, nationally acclaimed award winning singer - pure
magic.
Win some lose some. This is the first band that has
played at Jazzworld who did not excite me, not because the playing
was bad but because the sound electronic. It is an acquired taste
and there were several punters there, who for them this was their
cup of tea, but unfortunately for me it was not mine.
Gilad The Great - if Coltrane had been a Jew it is
quite easy to imagine that he would play like Gilad. Completely
bonkers, over the top, but oh so wonderful!
John's playing has matured, mellowed
and still retains much of his original spark.
What a treat, fantastic value for money
(there have been moans that £7 is too expensive little
do they know that people pay £15 plus to see Ian sing in
a top London venue) - but this is Hastings.
Quality, musical magic from this quartet. Quirky
and original music splattered with some unusual choice of covers
for a jazz band, Leonard Cohen and John Marytn great.
Lynda Murray further enhanced the reputation of her
fledgling Jazzworld enterprise at the White Rock Hotel recently
by booking the up and coming jazz vocalist composer Helen Sheppard.
In her own inimitable style Carol wowed
the audience at this new jazz club in Hastings. She had a very
strong line up with her Steve Lodder on keyboards, Annie Whitehead
- trombone, Jennifer Maidman - electric bass and Josephine Cupido
- drums.