G LASGOW international JAZZ



T—T—h—ursday 2nd July ~ BOTT'I £18. £15. £12. 216"

CAROL KIDD 8: David Newton Trio

FSaturday 4th July ~‘ 8pm 11811—592, £761“


tr Monday 6th July ~ 8pm

., v.3 -

?gsi. -

2. £1 :

A TRIBUTE To y; , lemming Hemiendaevdflavoe.Sborlafiorrm_ __ _$alqrqay 11_l_h_ July ~ 8pm. 220, 215.210 "1 [13995: ‘d


'Tu.és.déi My ~ fibril. "6?; Tram wgy

BHEK' MSELEKQ’._.. YINf‘SMIUY’fiMlIHé CHARNE" MOFFET -.__T_l?9'.$day MW: 7399'" '.?7.__(§5, Cenceséienl 3

_ --_. -MQILAN. IB_|_Q___ ...-.

E; ..F_'19.<'=1Y_.3’d July :-Z§99m§.l§5_¢grw_e__~°lsis>2l_u

Bit! 9_D_$_QU1N_TE_L_.

._ _$§t9r5_av_4m Juli. : 79991-37..lfiieozlsssfloru


. . _ $35981 5th July 7930.991 f 26 (£4 c°c99$5i_6ill.".‘


.1“E§".9¥7!“,JH'Y:339‘”? : £7. <9? .s9n9355_i5>1>....f


Libéslfieséavfilh JP'X. i 73099;? (2.599393%!913

CARLA BLEY & THE STEWART FORBES BJG BAND ieaturlnoAl-EXBALANESQU _ Thursday 9th July 7.30pm - £7 (£5 concession) M

Prune Sponsor V oou CHERRY'SNU , . ~Friday .10th July ~ 7.30pm - £7 (£5 concession) I Qgttil'Mlng-f g_ ,_ THE POLL WINNERS“ , _ ihsaturday 11th July g~ 7.30pm - £7 (£5 concession) ' mm: . “W

Late Night Club at Tramway ,...TQMMY SMITH QUARTET. L.I"_"L%dav?9339'x New: 9&9?le ;

,. ., 'RAKERE . -_- . Friday 3rd and Saturday 4th July ~ 11pm - £7 (£5 ooncession)‘ ___---Y.E_,L!=OWJAQKEI$

7‘ Thursday 9th July ~ 11pm - £7 (£5 concession)


F,"_da,¥-.‘.9‘h JP'Y”. ‘J.P'_T‘;-_£.7.(2.5.C9nc95151‘9") _ .


Saturday 11th July ~ 11pm - £7 (£5 concession)

rHE‘nTv'EEéoAT SHUFFLE eras; ‘wg;g;szgy‘""

Fridays 3rd 8. 10th July ~ 7.30pm £12

TICKETS ~ 041 227 5511



July ~ pm £18. ,1 ~ ‘. rifi-‘i l l The CHRIS 'vs ' ,l ' ' + GEORGE MELhYggg. n c [Wefifiésaéy’éih July ~ 8pm £18. 2 aw; a’ .fiifigfi-fi. ' ' . , w W TONY BEN w


Rhythm master

Paul Motian Trio

Paul Motian has always seemed an original. In an era when jazz drumming tended toward the powerhouse tactics oi an Elvin Jones or a Tony Williams, Motian pursued a diilerent line, subtle and even delicate, oiten sparse and heavily understated, but always crackling with a barely-restrained sense oi underlying tension, oi power held in check.

Small and wiry, his sculpted Asiatic ieatures betray his iamily‘s Armenian origins. Born in Philadelphia, he played around with what was to seem a prophetlcally diverse range at musicians-irom Coleman Hawkins and Roy Eldridge to Lennie Tristano and Thelonious Monk— in New York, beiore joining the Bill Evans Trio in 1959. The records still sound iresh,

coniirming his claim that ‘we wanted to play a music with no date on it.‘

His decision to quit at the height at their tame in 1964 and explore tree jazz (‘all these new things were happening,

; and they were tugging‘) meant a riit

with the pianist which only healed just

beiore his death. and they never played . together again. The style which he

evolved in those years, however, and which he has continued to hone, remains the loundation oi his art to the


At its heart lies a style oi playing

E which is rooted in responding to the , phrasing oi the other musicians, rather

than a conventional time-keeping lunction, and an absorbing interest in the possibilities thrown up by musical textures, tonal colours, and dynamic extremes. He comprehensively re-thought drum techniques and movements, replacing those iound wanting with more spontaneously generated means oi iinding the right

l sound.

It has proved a highly adaptable

2 approach, and is heard to equally

compelling eiiect in his well-established trio, alongside Bill Frisell's idiosyncratic guitar (equally absorbed with colour and texture), and Joe Lovano‘s pliable but beeiy saxophone, and in the very different trio he shares with pianist Geri Allen and bassman Charlie Haden. Catch a

i masteratwork. (Kenny Mathieson) ; Paul Motian Trio, Tramway, Fri 3, ; 7.30pm.

_ Phil-osophy

Saxophonist Phil Woods has never strayed too tar lrom his early love at the

bebop era in general, and the music at Charlie Parker in particular. Woods

went to the prestigious Juilliard School ,

in New York in 194?, he says, ‘to study clarinet, but my real purpose was to check Bird out. I cooled out my iamily by telling them I wanted to study Mozart.‘

Woods took up the alto, and inherited Parker’s stylistic vocabulary, but it would be unlair to brand him simply as an imitator. The saxophonist developed his own distinctive slant on the iorm, and has stuck with it over tour decades, with the occasional ioray into alien electric territory.

‘l’m a stodgy, acoustic guy. I tried a wah-wah pedal and the Varitone and all that nonsense, but i preier to play acoustic. I made a conscious choice, and that was to recognise that my strongest suit is melody, chord changes, and variations. Atonality does not interest me —you only know what outside is it you learn the inside.‘

A rare visitor to Scotland, he leads a strong quintet lor this date, with trombonist Hal Crook, pianist Jim McNeely, Steve Gilmore on bass, and drummer Bill Goodwin. Although by no means areal innovator, his brightly burnished tone, strong sense oi shape and structure, and relined technique have made him one ol the most popular

Phil Woods

and accessible at modern jazz stars. ‘Bird was my hero, but now I look at somebody like Benny Carter or Duke Ellington, and I think as i get oiderthat the real challenge is carrying your horn around ior 80 years, playing all your lite with no excesses, no drug habit, no notoriety, just quietly going about your business as a musician.‘ (Kenny Mathieson) Phil Woods Quintet, Tramway, Sat 4, 7.30pm.