Courtney Pine is no stranger to Scottish audiences. but the saxophonist’s latest visit to these parts is in the intriguing company of the distinguished New Orleans pianist Ellis Marsalis. The current fame of sons Wynton, Branford and Delfayeo has brought the pianist into the limelight after a long career as performer and jazz educator in his native city. and led directly to the link with Courtney.
‘I got to know the Marsalis family through Delfayeo producing my album Destiny ’5 Song. but I actually met up with Ellis one night at the Blues Alley club in Washington. where l was playing with my band. Ellis had come along to hear the show. and I took a chance and asked him to sit in with us for the second set.
‘I loved the way he played, and I asked if he would like to do an album with us. which became The Vision ’5 Tale. I'm really looking forward to the gigs we will be playing on this tour- it‘s going to be a real learning experience for me.’
Pine has always remained open to the need for constant learning in jazz. and has not allowed the excessive media attention which came his way to deflect him from a sober analysis of his purpose.
At the same time. he has retained an interest in the reggae and funk styles with which he began his musical career. reflected on his contribution to the second Soul II Soul album. and in his recent Closer to Home release on Island‘s reggae label Mango. For this visit. though. the agenda will be strictly — and authentically—jazz. (Kenny Mathicson)
Courtney Pine with Ellis Marsalis, Queen ’s Hall, Edinburgh, [4 Dec. 8.30pm; Royal Concert Hall, (ilasgow, /5 Dec, 8pm.
MUS|CMHOCK & BLUES 39 JAZZ 42 FOLK & WORLD 45 CLASSICAL 46
Hello Martin. I’ve just been ploughing my way through Boo Badleys’ meaty press-cuttings tile and my, how the hyperbole llows. Is it not slightly Inhibiting having all these gushing eulogles written about your band?
‘Em. . . I dunno . . . we don't understand hall oi them, really. I mean, all these reviews, I dunno it any otthem actually say something. Ithlnk they make us sound better than we are.’
This ls quite possibly the case. Martin is ‘axeman’ with Liverpool’s Boo Badleys, the hell-ior-Ieather strummer whose lrlghtenlngly conirontatlonal guitar death noise Is at the centre oi Boo Badleys’ appeal. Countless rave reviews summon up names like Husker Oii, My Bloody Valentine, The Byrds, Dinosaur Jr, arousing notions at a supergroup ol awesome proportions. Boo Badleys are good, but are they that good?
The Adventures oi Boo Badleys began with the release oi their debut album on Preston's Action Records, Ichabod a. I,
back In June. Tracks like ‘Eleanor Everything’ and ‘Catweazle’ got all the right people loaming at the mouth. The sound was a sound where the wild surge ot the guitars and the harmonies sacrillced precision tor lrantlc urgency. Great stuit, it hardly peerless, but enough to attract the mighty Rough Trade, and Budi Irom All. Kane, who produced the recent Kaleidoscope EP because they asked him to.
Similarly, the band are set to work with Alan Moulder on the next EP, an engineer best known tor his work with My Bloody Valentine. And whilethls may tempt another rash ol rash comparisons, us thinking popsters must not be deluded Into dismissing them as second-rate copyists. Boo Badleys are young and happening, the latest miners at a rich and thrashy rockveln. Don't believe the hype, enjoy them lorwhat they are. (Craig McLean) The Boo Badleys play The Network, Edinburgh on Tue 11 and The Videodrome, Glasgow on Wed 12.
In late 1988, things were looking rosy for Roy Orbison. Not only was he enjoying success with music's arguany most impressive supergroup The Travelling Wilburys, he was claiming chart honours tor himseli through rekindled public interest in his own material. Then Fate dealt one ol her cruellesl blows and he oi the dark glasses and amazing ialsetto was gone, leaving a legacy ol rich melodies and not a law stunned admirers. Ironically, shortly belore his death, he took part in a personal retrospective tribute concert, joining with the likes ot Bruce Springsteen, Elvis Costello and Tom Waits to perform his best-loved material.
Two years on, and Glasgow is staging
I its own tribute to the Big O, with all
proceeds going to Friends at the Earth and Animal Concern. Organiser Bonnie Costley explains how the idea took shape: ‘It all tied in really. lwanted to do a charity gig, I wanted to do it lor the environment and because at the Big O. ‘The Big 0 Zone‘ seemed a good name lor It and the Ideal venue seemed a place like the Winter Gardens being what it Is, a big greenhouse.’ Environmentally iriendly participants In the extravaganza include The River Detectives, Carol Laula, Hugh Reed and The Velvet Underpants, Moni and The Tumblin' Wilkies, a bizarre amalgam at local hacks (line-up to be
conlirmed, but Russell Blackstock is a cert). Each band will pertorm a short set Including an Orbison composition alongside their own material, and in between each burst at live action, Costley will be spinning some crucial discs courtesy oi Orbison's contemporaries, like Elvis, Jerry Lee Lewis and The Beach Boys.
In reply to those who plead ‘obituary overklli’, Costley points out that Glasgow has not hosted a tribute concert tor a considerable time. Although he calls Ior ‘an awareness at the charity, the environmental thing’, he emphasises the dliierence intone that this gig should have over other maudl in or sell- congratulatory eltorts. ‘I don‘t want it to be serious at all. I want It to be a tun thing, a celebration.’ Rave on. (Fiona Shepherd)
The Big 0 Zone will take place at the Winter Gardens, People's Palace, Glasgow on Fri 14.
V JAZZ j CIRCUMSTANTIAL EVIDENCE
Pianist David Newton's reputation has been enhanced considerably in the past twelve months, following a successful move to London. Already established as a member of Martin Taylor‘s Quartet. Newton was chosen as the pianist and musical director when singer Carol Kidd opted for a change to a more high-powered trio earlier this year.
Newton, Dave Green and Alan Ganley have provided an entirely different musical dimension to that of the Sandy Taylor Trio, who served her well fora decade in a more mainstream style. Their sound and approach to harmony, while embracing the mainstream with authority and understanding. is more modern. ﬂexible. and exciting, and has coincided. and doubtless helped to nurture, Newton‘s mature emergence as a pianist of genuine excellence.
‘When I arrived in London. I made a concerted effort just to take the jazz gigs. andl have been lucky in being able to play the music] want. Whatever it is. though. my aim is always to try to delve into the heart of the music. extract as much from it as lean. and then communicate whatever I find there.‘
Newton returns to Scotland with Carol this month. but also has Victim of Circumstance (Linn Records) as convincing evidence of his excellence. The earlier Given Time (GFM) wasa beautiful solo piano recital. but the new release features him in trio settings of his own increasingly impressive music. alongside a couple I of standards. Most cuts ,'
feature Alex Dankworth I and Clark Tracey, but his next release, in the even more compatible company ofGreen and Ganley. is already recorded. while Martin Taylor's debut for Linn with the Trio may be out around Christmas. (Kenny Mathicson)
Carol Kidd Trio, Usher Hall, Edinburgh, 8 December. 8pm; Royal
C oncerr Hall, Glasgow, 27 Dec, 7.30pm.
35 The List 7 — 20 December I990