Stan Tracey - collectors series
Summer 2012 release
Ben Webster - Stan Tracey
Soho Nights Vol 2
"Recorded live at Ronnie Scotts (1964), the music here has lain unheard on the original tape reel for 48 years and has never been released in any format, making it a remarkable rediscovery".
Simon Spillett's superb liner notes once again putting the people and the era into context, Volume 2 of Soho Nights is a CD not to be missed.
Ben Webster - tenor saxophone with Stan Tracey - piano. Rick Laird - bass. Jackie Dougan - drums
TRACKS : Introduction by Ronnie Scott - C-Jam Blues - Night in Tunisia - Chelsea Bridge - Poutin' - Over The Rainbow - Sometimes I'm Happy (Youmans-Caesar ) - Cotton Tail - The Theme - Goodnight from Ronnie Scott
CD PRICE : £12.00 (incl. p&p)
Thomas Cunniffe. JazzHistoryOnLine.com August 2012
Today's travelling jazz musicians tour Europe an average of once or twice a year, but in the days when the only passage to the Continent was by steamship, a European visit by an American jazz musician was a rare luxury, for both the artist and the audience. Coleman Hawkins, Bud Powell, Mary Lou Williams and Ben Webster all traveled to Europe for short-term gigs, but in each case, they remained for years, enjoying the increased appreciation and work that was readily available. For Webster, a month-long engagement at London's Ronnie Scotts' commenced a European residency that would last for the rest of his life. British pianist Stan Tracey was Webster's accompanist during several performances at Scott's nightclub, and Tracey's label, Resteamed, has issued two CDs of Webster from those gigs. "Soho Nights, Volume 1" was issued in 2008 and featured music from a January 1968 performance, and the newly-released Volume 2 goes back to the second night of Webster's inaugural gig in December 1964. - more
Starting with the most recent issue (but the oldest music), the 1964 recordings display Webster as a fiery player ready to show his talent to a new audience. He growls like a bear on "C Jam Blues" and he adroitly handles the bop changes of "A Night in Tunisia" without losing his tough tenor sound. He plays his longtime favorite ballads, "Chelsea Bridge" and "Over the Rainbow" in his lush romantic style, and even contributes one of his originals, "Poutin'" to the set list. The closer is the seemingly inevitable "Cottontail". Webster does a rough recreation of his original 1940 solo, but the real fun comes in his final improvised chorus, where the built-up energy inspires the tenor man to some of his most exciting playing of this period. Tracey was one of Britain's most progressive players and his unique style might be best described as a combination of the stark chords of Duke Ellington, the energy of Horace Silver, the angularity of Thelonious Monk and the splashy colors of Cecil Taylor. Yet for all of the wild aspects of his solo work, Tracey was an exceptional accompanist, playing superb traditional backing chords whenever Webster was playing. In the mid-1960s, it was not a given that European rhythm sections would swing, hold a steady tempo and play tasty solos. Bassist Rick Laird and drummer Jackie Dougan were both superb musicians and clearly among the finest on the London scene. Laird's tone is quite full, and his hornlike solo conception is quite surprising for the period. Dougan trades fours with Webster on all of the up-tempo tunes and his fills behind the solos are a constant delight.
By 1968, Scott had relocated his club from the basement at 39 Gerrard Street to the ground level at 47 Frith St (where the club still stands). Both Webster and Tracey had mellowed in the intervening four years: the tenorist perhaps feeling his age and having less to prove, and the pianist going through physical and emotional challenges, but also creating some of his finest compositions. The bass and drum team of Dave Green and Tony Crombie lay down a deep groove on the first set's opener, "Johnny Come Lately" and they maintain it through the other medium-tempo tunes including "Sunday", "What Am I Here For" and a surprisingly jaunty "For All We Know". Crombie's bombs are overwhelming at times, but on "Sunday" he and Tracey have a marvelous dialogue, and on an incomplete version of "In a Mellotone", he spurs Webster into a brilliant solo turn. There's a little instruction on the bandstand during "The Jeep is Jumpin'" where Webster can be heard calling out chord changes to the band. However, the greatest parts of Volume 1 are in the ballads: two versions of "Londonderry Air" ("Danny Boy") where Webster displays the art of melodic paraphrase, and a stunning reading of "Come Sunday" with a beautifully constructed tenor solo.
Live recordings from Ronnie Scotts' are hardly rare, but the audio for these releases, taken directly from the club's PA system, is quite good for its day. Simon Spillett's liner notes have several anecdotes about Webster and his issues with alcohol, but also contain valuable information for those not familiar with Tracey and the other sidemen. Apparently, Tracey has several more unissued tapes from Scotts, featuring Freddie Hubbard, Sonny Rollins and Tubby Hayes. If they are of the same artistic and technical quality of the Ben Webster CDs, they will be welcome and important additions to the jazz legacy. less
By 1968, Scott had relocated his club from the basement at 39 Gerrard Street to the ground level at 47 Frith St (where the club still stands). Both Webster and Tracey had mellowed in the intervening four years: the tenorist perhaps feeling his age and having less to prove, and the pianist going through physical and emotional challenges, but also creating some of his finest compositions. The bass and drum team of Dave Green and Tony Crombie lay down a deep groove on the first set's opener, "Johnny Come Lately" and they maintain it through the other medium-tempo tunes including "Sunday", "What Am I Here For" and a surprisingly jaunty "For All We Know". Crombie's bombs are overwhelming at times, but on "Sunday" he and Tracey have a marvelous dialogue, and on an incomplete version of "In a Mellotone", he spurs Webster into a brilliant solo turn. There's a little instruction on the bandstand during "The Jeep is Jumpin'" where Webster can be heard calling out chord changes to the band. However, the greatest parts of Volume 1 are in the ballads: two versions of "Londonderry Air" ("Danny Boy") where Webster displays the art of melodic paraphrase, and a stunning reading of "Come Sunday" with a beautifully constructed tenor solo.
Live recordings from Ronnie Scotts' are hardly rare, but the audio for these releases, taken directly from the club's PA system, is quite good for its day. Simon Spillett's liner notes have several anecdotes about Webster and his issues with alcohol, but also contain valuable information for those not familiar with Tracey and the other sidemen. Apparently, Tracey has several more unissued tapes from Scotts, featuring Freddie Hubbard, Sonny Rollins and Tubby Hayes. If they are of the same artistic and technical quality of the Ben Webster CDs, they will be welcome and important additions to the jazz legacy. less
John Fordham Guardian.co.uk August 2012
When Stan Tracey was the house pianist at Ronnie Scott's in the 1960s, he creatively accompanied most of American jazz's biggest stars, including saxophonists Dexter Gordon, Stan Getz, Sonny Rollins and the former Duke Ellington Orchestra legend Ben Webster, whose monumentally powerful sound, sly timing and teeming imagination are heard with Tracey's trio on this December 1964 live show. - more
Webster swerves, hoots, brays and booms his way through a mid-tempo opener on the swing standby C Jam Blues, with Tracey's splashy treble chording, stealthy trots, jangling, double-tempo playing and unlovely grace providing the wayward alternative voice he sustains throughout the set. Webster blurs and smudges notes together like a palette-knife painting on Night in Tunisia, and his legendarily beautiful ballad tone is sublime on Chelsea Bridge and Over the Rainbow. A fast Cotton Tail has Webster operating in his usual uptempo mode, scattering gruff, short figures and smokers'-cough growls across the pulse, and Tracey plays a flying, chord-banging solo as if he's anxious to catch the last bus. The album represents a scalding performance from both of them, and Tracey's bass-and-drums partners Rick Laird and Jackie Dougan keep things unobtrusively tight.
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TheJazzBreakfast.com August 2012
Back in 1964 pianist Stan Tracey was heading up the house band at the legendary Soho jazz club, then in Gerrard Street.
And of course Ben Webster was a legend, too. Possessor of one of the defining tenor saxophone voices in jazz, he had been a giant of the genre since being a vital member of the Duke Ellington Orchestra in the early 1940s, yet this was his first visit to Europe and to Ronnie's.
It's a lively set including C-Jam Blues, Night In Tunisia and Cotton Tail, while Chelsea Bridge and Over The Rainbow allow Webster to show off his breathy, rich romanticism in ballad form.
Though Tracey's piano is a little far back in the mix, the recording quality is remarkable for its age, and this is far more than a historically significant recording of a classic transatlantic collaboration. It's simply a lovely listen.
Full marks to Tracey's son's label ReSteamed for digging it out of the archives.
Under Milk Wood Jazz Suite
Stan Tracey (p) - Bobby Wellins (s) - Jeff Clyne (b) - Jackie Dougan (d)
New cover design and booklet for the latest reprint of the Stan Tracey Quartets 1960's classic.
CD PRICE : £12.00 (incl. p&p)
See alsoGIVEMEJAZZ for downloads
Benny Green, Broadcaster and journalist, 1965
"…..the masterly interplay between Tracey’s piano and the tenor saxophone of Bobby Wellins. Wellins is one of the very few British jazzmen with originality and the aspect of his style which comes across to so great effect is his restraint, his use of silence in the solo, his ability to create light and shade instead of endless rambling streams which so many modern musicians indulge in"
Dave Gelly, The Observer, 1984
"It is now 19 years since Stan Tracey first introduced his jazz suite Under Milk Wood. The record was an instant, if modest, success and one of the pieces on it, the haunting ‘Starless and Bible Black’ remains probably the finest single recorded performance by a British jazz group. With the plaintive sound of Bobby Wellins’ tenor saxophone floating above the subdued piano chords, it evokes to perfection the atmosphere of a soft spring night…it was one of the most enjoyable concerts I have attended for ages… everyone writes suites these days… but none of them has lasted like this one…"
Rhythm Magazine 1993
"Stan himself is, quite literally, brilliant… His compositions all have that classic modern jazz feel: the heads are glaringly apparent and the solos obviously placed, but that’s what modern jazz should be about… Tracey has always been a progressive pianist with his self-created bounds and the rest of his band seem to share that ideology. Jazz for jazz lovers."
Tony Augarde, Music-Web International, 2007.
Stan Tracey's 1965 recording of his "Jazz Suite inspired by Dylan Thomas" has attained the status of a classic disc - and rightly so. After more than 40 years, the album stands up as one of Stan's finest. A British jazz masterpiece? How often can you suggest such a thing? But in this case the answer is undoubtedly "Yes".
Stan Tracey Octet- The Early Works
Two classic seventies albums reissued and remastered.
'The Early Works' has the Stan Tracey Octet 'Bracknell Connection' and 'Salisbury Suite'
now as a double cd. Includes bonus track previously unissued 20 minute live recording at the Salisbury Arts Festival 1976.
Peter King - alto saxophone (Bracknell Connection) / Jeff Daly - alto saxophone /
Art Themen - tenor & soprano saxophone / Don Weller - tenor saxophone / Harry Beckett - trumpet / Malcolm Griffiths - trombone
Stan Tracey - piano / Dave Green - bass /
Bryan Spring - drums
Recorded Live at the 100 Club London. 1976. - Salisbury Arts Festival. 1976 - Royal Festival Hall. 1978
TRACKS : DISC 1 THE BRACKNELL CONNECTION
CUDDLY - AGITATO-SYMPATICO - FRAGGIE BAR WALTZ - TIMESPRING - CHIFFIK (previously unissued)
DISC 2 SALISBURY SUITE
PEG-LEG BATES - BALLAD FOR ST.ED - MIFF
DOUBLE ALBUM CD PRICE : £15 (inc p&p)
The Jazz Breakfast/Wordpress ****
This is also a double disc and comprises The Bracknell Connection on the first (recorded at the 100 Club in 1976) and the Salisbury Suite on the second (recorded Royal Festival Hall a year and a bit later). There is a magic in these recordings – more
that energy and excitement you get from a bunch of musicians on a roll. Just listen to that saxophone section pushing hard behind Malcolm Griffiths trombone solo on Cuddly, and the way Stan suddenly changes the mood in his piano solo.
There’s even a bonus track – Chiffik, “cooked up on the spur of the moment”, as Stan puts it in his intro, at the Salisbury Arts Festival of ’76. And, unlike most bonus tracks added to reissue discs, this is one you really do want – a great solo piano intro and a little quote from That Old Devil Moon as the band comes for a true group improv piece that again shows oh-so-clearly over its 20 minutes how much these men loved playing together.
All the tracks have been remastered, and the sound is excellent. less
Tim Stenhouse. UK Vibe/Jazz Culture:
As part of the ongoing series of re-issues comes the latest instalment of classic Stan Tracey sides. This focuses on live recordings from the mid to late 1970s, with the leader's compositional skills to the fore, and captures Tracey and the larger ensembles in top form. more
By this period Stan Tracey had completed his long stint as house pianist at Ronnie Scott's and was beginning to explore freer jazz forms in both duet and larger ensemble formats. Comprising three separate recordings, the one on CD2 features a set from the Salisbury Arts festival. The octet formation was born out of three commissioned pieces for the festival and showcases a mouthwatering line up of British jazz from the era including trumpeter Harry Beckett and reed players Trevor Watts, Alan Skidmore and Don Weller respectively. Of the extended numbers, 'Peg-leg Bates' impresses with its heavy emphasis on swing while 'Ballad for St. Ed' reveals the influence once more of Ellington in Tracey's playing. The line up would be modified slightly on other dates with bassist Dave Green and saxophonist Peter King featuring among others.
The first CD from an earlier concert at Bracknell is more blues-inflected while being in the post-bop style and is characterised by a winning combination of stabbing horns and melodic compositions. Excellent saxophone solos and highly improvised piano intros make for highly enjoyable listening with a bonus being the unreleased encore of 'Chiffik'. 2009 will see Tracey revisit some of the octet suites and if this is a taster of what is to come it should prove be both essential viewing and listening in the new year. A previous BBC Omnibus documentary featured the octet formation during the original period.
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John Fordham, Guardian December 2008 ****
In the autumn of his long career, British composer/pianist Stan Tracey's past and present are better represented on record than they have ever been - but these effervescent 1970s live cuts with his first octet take a lot of beating. more
The first disc features the four-part Bracknell Connection, a typical Tracey mix of riff-rooted blues dissolving into punchy horn soloing, lilting themes that build to slamming sax choruses, and some of the most urgent and startlingly free piano intros he has ever recorded. An additional gem is the previously unissued Chiffik, a completely improvised 20-minute encore from 1976. Initially uneven, it develops into an ecstatic episode rattling with impromptu key modulations, free-jazz tussles and blues-stomping riffs. The later music - including the swinging Peg-Leg Bates, the Ellingtonesque Ballad For St Ed and the swing-band-influenced Miff - comes from Tracey's Salisbury Suite. Harry Beckett's flirtatious trumpet, Peter King's dazzling alto sax, the rugged tenor pairing of Don Weller and Art Themen, and the machine-gun drumming of Bryan Spring contribute to a real UK jazz landmark. less
Chris Parker, Vortex December 2008
Two 1970s Steam albums The Bracknell Connection and Salisbury Suite form this two-CD reissue (plus a hitherto unreleased encore from the Salisbury Arts Festival, ‘Chiffik’), and they document the results of the two eponymous festival commissions, the former in 1976, the latter two years later, for what has become one of Stan Tracey’s most fertile musical formats - more
the octet (ironically, according to son Clark’s liner notes, a band-size decided upon for financial rather than artistic reasons).
Recorded not at the actual festival performances but subsequently at the 100 Club (Bracknell) and the Royal Festival Hall (Salisbury), the music is quintessential Stan Tracey: robust and freewheeling, packed with uninhibited solos (not least from the leader/composer himself), yet satisfyingly structured within arrangements that clearly draw upon his years of experience scoring for big bands (although ‘Chiffik’, nearly twenty minutes of unrehearsed free-for-all sporadically coalescing into riffs, also hints at his contemporary interest in free improvisation).
Punchy, pungent themes (the Bracknell opener, ‘Cuddly’, might almost be an escape from an Atlantic Mingus album; Salisbury’s closer, ‘Miff’ is an exhilarating, breathless hurtle) and the occasional slower piece (‘Ballad for St.Ed’) draw rousing but sharp ensemble work from the octet, but it is the solo contributions of tenorman Don Weller (wild, barrelling, wailing at up tempo but suitably dignified and affecting on ballad material), Art Themen (puckish, unpredictable, delightfully idiosyncratic on both soprano and tenor), and elegant but passionate alto players Peter King (Bracknell) and Jeff Daly (Salisbury) that demonstrate just how skilfully Tracey has balanced his musical forces.
The aforementioned ‘Miff’, for instance, uncontrivedly accommodates not only a lengthy unfussily virtuosic solo bass introduction from Dave Green, but also a succession of highly individual solo features including a typically choppy, playful yet drivingly powerful contribution from Tracey while never once allowing its hectic forward momentum to flag over its twenty-eight-minute length.
Trombonist Malcolm Griffiths, trumpeter Harry Beckett and remarkable throughout for his sheer dynamism and unrelenting attack drummer Bryan Spring complete the line-up of one of the most exciting bands in UK jazz history, and it is extremely gratifying to note that The Early Works will in due course be followed by more Resteamed Tracey octet material: The Later Works. Warmly recommended. less
Bill Shoemaker, Point Of Departure December 2008
Stan Tracey formed his Octet in the mid 1970s to reinvigorate his writing, which had been back-burnered during a period that emphasized free improvisation in duos with Mike Osborne and in larger ensembles such as Splinters and Tentacles. Though the Octet’s charts were decidedly mainstream by comparison, Tracey’s exhilarating brand of swing and winsome lyricism prevented them from sounding dated.more
By the time the Octet recorded The Bracknell Connection at London’s 100 Club in late ’76, there were a few key changes in personnel. Art Themen’s trenchant tenor and soprano saxophones proved to be the perfect complement to Peter King’s soaring alto and Don Weller’s boisterous, frequently bristling tenor. Bassist Dave Green and drummer Bryan Spring were a well-oiled rhythm machine, able to sustain breakneck tempi and amen the hallelujah of the pianist’s Ellington-inspired comping. With trumpeter Harry Beckett and trombonist Malcolm Griffiths still on board, Tracey had a crew that challenged the structural integrity of any roof they played under. The 100’s is put to an immediate test on the wryly titled 'Cuddly,' a stampeding, blues riffs-based workout, which opens The Bracknell Connection, the earlier of the two albums collected on this 2-CD set. Even when they are relatively compact, tucked into more detailed charts like 'Agitato-Sympatico,' which juxtaposes angular and surprisingly sunny passages, the solos are barely contained blazes. When Tracey lets his cohorts run wild, as is the case with Themen and Weller’s unaccompanied slugfest on the LP’s finale, 'Timespring,' the results defy the now conventional wisdom that the most inspired improvised music of the day was created by radical phalanges. This is borne out even more profoundly on the collection’s lone bonus track, 'Chiffik,' a rare example of Tracey’s practice of giving freely improvised encores; recorded at the Octet’s ’76 Salisbury Arts Festival performance, this almost twenty-minute piece not only featured incisive solos and polyphone but organically developed ensembles that could pass as predetermined. Recorded less than a year and a half after The Bracknell Connection, The Salisbury Suite finds Tracey articulating an arguably more forceful melding of his writing, his playing and that of his collaborators, which now included alto saxophonist Jeff Daly, a very capable substitute for King. 'Peg-Leg Bates' is a flurry of jabbing ostinati and careening lines anchored by Tracey’s unique two-fisted piano. The tug between wistfulness and steely determination on 'Ballad for St, Ed,' creates a dramatic tension that almost presages David Murray’s later octet charts. And, clocking in just under a half-hour, 'Miff' is a tour de force of hard-swinging ensembles and paint-peeling solos. One wonders if Gil Evans, for whom the Octet opened with this performance, won back the crowd at Royal Festival Hall. less
Ray Comiskey, Irish Times November 2008 ****
This double marks the CD debut of two fine mid-1970s albums, The Bracknell Connection and The Salisbury Suite , by the stellar octet for which Tracey wrote and arranged: Harry Beckett (trumpet), Malcolm Griffiths (trombone), Pete King or Jeff Daly (alto), Art Themen (tenor/soprano), Don Weller (tenor) and the Tracey-Dave Green-Bryan Spring rhythm section.more
Tracey's elegant writing gets a huge sound from the band, while the fecundity of his ensemble idea - to break up solo sequences and support the soloists over very long tracks - is exhilarating. The live setting, too, adds a bite to performances driven uncompromisingly by Spring. If The Salisbury Suite is slightly better recorded (with a better piano - Beckett also plays an uncredited flugelhorn solo on Miff ), the more gripping of the two is The Bracknell Connection, typified by an exuberant opening blues, Cuddly , that is anything but. less
Ben Webster - Stan Tracey - Soho Nights
Recorded live at Ronnie Scotts, this unreleased recording of the 'tenor giant' performing with Stan's 'in-house' trio of the time is now digitally remastered from the original reel tape. The album perfectly captures the atmosphere of the club in 1968 (including Ronnie Scott as MC).
Along with Simon Spillett's superb liner notes putting the people and the era into context the cd is a must for fans of this classic period.
Ben Webster - tenor saxophone with Stan Tracey - piano.
Dave Green - bass. Tony Crombie - drums
TRACKS : JOHNNY COME LATELY - COME SUNDAY - SUNDAY - LONDONDERRY AIR - FOR ALL WE KNOW - IN A MELLOTONE - THE JEEP IS JUMPIN' - WHAT AM I HERE FOR? - THE THEME
CD PRICE : £12.00 (incl. p&p)
What a find! Two live sets at Ronnie Scott's club, privately recorded in January 1968 and only now brought to light. Webster, then aged 58 and seriously alcoholic, was in the autumn of his career, but he could rouse himself to heights of eloquence on occasion, and he does it here. The tenor saxophone never sounded more expressive. Tracey, leading the accompanying trio, makes a perfect partner, especially on Ellington's gorgeous 'Come Sunday', which is a masterly performance by any standard. The mutual inspiration and depth of feeling, especially in this and other slow numbers, makes this a precious discovery.
Chris Parker - vortexjazz.co.uk
Playing what fellow tenorman Simon Spillett's excellent sleeve notes refer to as 'a typical autumnal Ben Webster set', the great saxophonist is joined by Stan Tracey (piano), Dave Green (bass) and Tony Crombie (drums) for this January 1968 recording, taken from two sets played at Ronnie Scott's, where Tracey was house pianist. - more
Previously unissued – and future releases from the same source are set to feature Freddie Hubbard, Sonny Rollins, Jimmy Deuchar and others – this album contains a good deal of Ellington or Strayhorn material (which Spillett rightly calls 'the thread linking Webster and Tracey') and the odd standard; whatever he's playing, though, Webster displays the mature, ripe, characterful sound that made him what Ronnie Scott calls him in his announcements: 'everybody's favourite tenor player'. To balance his familiar abrasive, querulous up- and mid-tempo tone, Webster has an affecting fluting high-register sound and his trademark breathy vibrato (especially effective on 'Londonderry Air' and 'Come Sunday' here), and Tracey, too, showcases his own utterly distinctive tripping, pleasingly clangorous, pungent approach in his solo spots. Selflessly driven by Green and Crombie, this is highly individual, informally idiosyncratic music from two great originals. - less
John Fordham, - Guardian ****
Nostalgics for the golden 60s era at Ronnie Scott's, when the pioneering legends of jazz regularly emerged to the club founder's wry announcements, will have a moistening of the eye at this previously unreleased classic. - more
But its virtues are such that it has a magnetism for any audience. Swing saxophonist Ben Webster - one of the architects of the tenor sax's identity (some of his brusque sensuousness is audible in Sonny Rollins today) - was 58, with only five years left, when this live recording was made in January 1968, and often drunk enough to put staying vertical in doubt, let alone playing. But if his violin-like upper-register phrasing, exquisite narrative poise and growling uptempo playing had become fragmented, every sax solo here still envelops you in its whimsical speculations. The recording quality is pretty good (inevitably better for the horn than the piano), and Stan Tracey's chord-rooted Duke Ellington enthusiasms connect particularly fruitfully with Webster, the former Ellington frontman. Tony Crombie's irrepressible drumming and bassist Dave Green's immaculate pulse completes a group Webster audibly relishes. From a squawky and sporadically almost free-sounding Johnny Come Lately, through a startlingly refashioned Come Sunday, two quivering accounts of Danny Boy, and a gallumphing The Jeep Is Jumpin', it's a fascinating document of a fading hero finding bursts of energy in the heat of improvisation. Imperfect, of course - but that's the point. - less
Ray Comiskey, Irish Times,
Webster, on this previously unreleased late-1960s live recording from Ronnie Scott's, may have been in gentle decline, but he had refined his less-is-more tenor to the ultimate in expressiveness. - more
Personal cliches abound, but nobody could wring as much out of a melody as Webster did; two gorgeous versions of Danny Boy and a glorious Come Sunday epitomise the ethereal yet sensual delicacy of his ballad playing. There's a sprightly grace as well to his lithely swinging Johnny Come Lately, For All We Know and What Am I Here For?, and only on the faster Sunday and The Jeep Is Jumping does he sound rushed and start to rasp aggressively. Stan Tracey's marvellously quirky piano, with its echoes of Monk and Ellington (not so far apart from each other) is an ideal contrast, and Dave Green (bass) and Tony Crombie (drums) complete a fine rhythm section. - less
Peter Bevan, Northern Echo,
Another tremendous issue in the Stan Tracey Collectors' Series, this is the first of three volumes of recently discovered tapes. One of the the great pleasures in the 1960's was the opportunity to hear the great American tenor saxophonist Ben Webster and his unique and ditinctive style, often accompanied by Stan Tracey.
Martin Gayford
There are various contenders for the title of heavyweight champion of the tenor saxophone - Lester Young, John Coltrane, Coleman Hawkins, Sonny Rollins. But on one point there is no argument. No one ever conjured a richer, more velvety sound from the instrument than Benjamin Francis Webster. - more
Webster could be a difficult man and periodically he was seriously drunk. On his first arrival in Br6itain he had to be removed from the boat train at Victoria Station on a porter's trolley. But on this newly rediscovered session, recorded at Ronnie Scott's Club in 1968, he is on marvellously mellifluous form. Stan Tracey is a highly compatible accompanist on piano, with echoes of Webster's old boss, Duke Ellington.
This music, with its complex mixture of emotions - tenderness, elation, anger, sorrow - bears out a comment made by Dave Green, bassist in this band: "Ben didn't just play the tenor saxophone - he played his whole life." - less
This music, with its complex mixture of emotions - tenderness, elation, anger, sorrow - bears out a comment made by Dave Green, bassist in this band: "Ben didn't just play the tenor saxophone - he played his whole life." - less
Lee Wilkinson, The Stage
Forming part of the Stan Tracey Collection on this label operating out of Hemel Hempstead, this disc includes previously unissued live recordings made at Ronnie Scott's club in January 1968. Thanks to the wonders of modern technology, the original tapes have been digitally restored, resulting in a quality of sound that is quite remarkable. - more
British modernist, composer and arranger, Tracey was resident pianist at the club, where he led the house band for several years, playing behind a succession of visiting American luminaries. Ben Webster was one of the greatest of all swing tenor saxophonists, having been a major figure in Duke Ellington's Orchestra in the early Forties. Possibly past his inventive prime by the time of this engagement, Webster nonetheless injects an air of sophistication and technical excellence into the evening's entertainment. His playing is at its most exuberant on Billy Strayhorn's 'Johnny Come Lately', with a tough resonant edge to it. In contrast, he displays a warmer, tender, clear tone on Ellington's 'Come Sunday' in particular to complement Tracey's chorded keyboard artistry.
Throughout the CD, Dave Green on bass and renowned drummer Tony Crombie combine to underpin Websters and Tracey's fluent partnership. All four exhibit their individual talents to good effect on The Jeep Is Jumpin', which is something of a tour de force.
With informative liner notes, this release is one that jazz fans can buy with confidence, and there are plans to issue more archive material to demonstrate the importance of Stan Tracey's musical accomplishments. - less
Throughout the CD, Dave Green on bass and renowned drummer Tony Crombie combine to underpin Websters and Tracey's fluent partnership. All four exhibit their individual talents to good effect on The Jeep Is Jumpin', which is something of a tour de force.
With informative liner notes, this release is one that jazz fans can buy with confidence, and there are plans to issue more archive material to demonstrate the importance of Stan Tracey's musical accomplishments. - less
Tony Augarde
This is the first of three projected CDs made from recently-discovered tapes of tenor-saxist Ben Webster. On this session, he was performing at Ronnie Scott's London club in 1968, backed by Ronnie's rhythm section of Stan Tracey, Dave Green and Tony Crombie. - more
Webster was by this time settled in Copenhagen, where he died less than six years later. He had, of course, found fame in the 1940s as an important member of the Duke Ellington Orchestra, where his style matured considerably. But he matured even further in the 1950s, still growling on the tenor sax (as you can hear in 'Sunday') but developing a style that was distinguished by its warm and breathy tone. This unique sound is notable in both versions of Londonderry Air, where Ben's delivery consists almost as much of breathing as playing notes. He tends to stay quite close to the melody when improvising, but his sound is so beautiful that one hangs on his every note. His interpretation of Ellington's 'Come Sunday' is a rhapsodic highlight of the album.
Five of the eleven music tracks have Ellington connections, including a bouncy version of Billy Strayhorn's Johnny Come Lately and an assured reading of The Jeep is Jumpin', co-written by Ellington with Johnny Hodges. In fact, I suspect that some influence from Hodges may have rubbed off on Ben Webster when they were playing side-by-side in Duke's orchestra, as Webster's sweet tone and soaring notes are in some respects similar to Hodges' style.
The rhythm section provides sterling support for the star. Stan Tracey's piano is as edgy as ever, underpinned by the totally dependable double bass of Dave Green and the excitable drumming of Tony Crombie. The sound quality is remarkably good for recordings transferred from old quarter-inch tape. Ronnie Scott's introductory and closing announcements are expendable, but they only occupy a couple of minutes and they convey Ronnie's sincere appreciation for his great fellow-tenorist. - less
Five of the eleven music tracks have Ellington connections, including a bouncy version of Billy Strayhorn's Johnny Come Lately and an assured reading of The Jeep is Jumpin', co-written by Ellington with Johnny Hodges. In fact, I suspect that some influence from Hodges may have rubbed off on Ben Webster when they were playing side-by-side in Duke's orchestra, as Webster's sweet tone and soaring notes are in some respects similar to Hodges' style.
The rhythm section provides sterling support for the star. Stan Tracey's piano is as edgy as ever, underpinned by the totally dependable double bass of Dave Green and the excitable drumming of Tony Crombie. The sound quality is remarkably good for recordings transferred from old quarter-inch tape. Ronnie Scott's introductory and closing announcements are expendable, but they only occupy a couple of minutes and they convey Ronnie's sincere appreciation for his great fellow-tenorist. - less
Stan Tracey & Keith Tippet - Supernova
A recently unearthed recording of a live concert at the ICA in London in the Seventies by this mighty duo.
One of the most powerful sets of improvised piano you'll ever hear
digitally remastered from the original tape
(released in shops March 2008)
available here now
CD PRICE : £12.00 (incl. p&p)
John Fordham. The Guardian ****
"On Stan Tracey's triumphant Barbican concert at the end of January, the 81-year-old pianist/composer ran through most manifestations of his talents. - more
But Tracey's all-improv duet with fellow-pianist Keith Tippett, a partnership untried in 15 years, stole the show, exposing new musical and emotional depths in Tracey that orthodox jazz doesn't often draw from him. Not many examples exist on record, so this previously unreleased set at London's ICA in 1977 is a precious item. There's not much in the way of conventionally jazzy licks, but the music is playful, conversational and, at times, unsentimentally romantic and warm. Tippett frequently favours fast, whirring note-cycles that Tracey bangs hard chords against, or seamlessly droning low-end thunders that Tracey sometimes joins and sometimes illuminates with glittering treble sounds. At times they get close to each other with a haunting sympathy. On Vela Pulsar, there's an uncanny empathy to the way they play percussive sections together and then stop as if a switch was thrown, or join on a tone-centred drone like an orchestral string section. Streams of intertwining sound become a cat-and-mouse game in Parallax, and the title track has a long opening section as pure, pulsating texture before tentative shoots of melody start to grow. Occasionally there are snatches of blues phrasing, and it evolves into a highly rhythmic kind of lateral swing. Supernova is a vivid insight into the infrequent work of one of the great improvising partnerships."
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Chris Parker - vortexjazz.co.uk
"Recorded at the ICA in 1977, this album captures 50-odd minutes of peerless improvising from two masters of the craft. - more
Always absorbing, often exhilarating, moving easily between rumbustious energy and touching lyricism, the two pianists strike sparks off each other, indulge in combined dazzling, driving runs, or muse quietly together – whatever the mood, though, as Clark Tracey's liner note suggests, 'intuition, respect, energy and romanticism are just some of the qualities to be found in abundance on this recording'. A rare and valuable issue."
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The Northern Echo "Beautifully recorded with the musicians clearly separated in each channel, it's an object lesson in creativity and expression.."
Irish Times
"Free improv isn't everyone's bag, but whatever nexus of inspiration was in the air between Tracey and Tippett at London's ICA in August 1977 produced something extraordinary.."
Tracey and Tippett performed as 'TNT' and released an album under that name on Emanem Records (later reissued on Steam Records and Blue Note International).
This album is now available again as a download, exclusively. There are also still some mint editions available from our vinyl section.
the outstanding 60's big band recording
Alice In Jazzland out now
CD PRICE : £12.00 (incl. p&p)
tracks
Alice In Jazzland - Afro-Charlie Meets The White Rabbit - Fantasies In Bloom
Summer Hallucinations - Teatime Gavotte - Murdering The Time
Pig And Pepper - Portrait Of A Queen
musicians
trumpets : Kenny Baker, Eddie Blair, Ian Hamer, Les Condon
trombones : Keith Christie, Chris Smith, Wally Smith
alto saxes : Alan Branscombe, Ronnie Baker
tenor saxes : Ronnie Scott, Bobby Wellins
baritone sax : Harry Klein
piano : Stan Tracey
double bass : Jeff Clyne
drums : Ronnie Stephenson
also with : Tubby Hayes and Kenny Wheeler
REVIEWS
Nick Reynolds
Pianist and composer Stan Tracey is a legendary veteran on the British jazz scene, in his own quiet way, a master musician...more
Alice In Jazz Land originally released in 1966 is the follow up to Tracey's Under Milk Wood album, one of the best known British jazz albums. It's criminal that Alice… has been unavailable for so long: it's a great record.
A crack team of legendary British players was put together for this session. But Stan himself sets the tone in the first thirty seconds of the title cut with an aggressive, audacious piano intro that makes you sit up and go 'Wow!'. This is an album that exemplifies the classic British big band sound: tart, bright, punchy. But it also pushes the envelope way out with its' confidence and wild musical invention. It's full of fantastic loud, huge, wide chords that are big enough to stick your whole head in.
This album is a much a product of its time as the Beatles' Revolver, and it's no coincidence that it was also recorded at Abbey Road (and beautifully recorded at that). British music and culture was at a zenith, and you can hear the sunshine and swagger in the likes of "Pig And Pepper" and "Summer Hallucinations". "Afro Charlie Meets The White Rabbit" has a psychedelic edge with outrageous discords and an off the wall arrangement which never meanders or loses focus. The lovely "Fantasies In Bloom", provides some breathing space. It seems dangerous to single out one player but I particularly love the trumpet section and Kenny Baker's trumpet feature on the intense "Murdering The Time".
Right up to the glorious conclusion of "Portrait of A Queen" there's not a precious second wasted in 38 brilliant minutes. They really don't make 'em like this anymore. Thankfully you can hear 'em again, thanks to Clark Tracey and his programme of reissues of his father's music: truly a labour of love in a very bad world. Great stuff!"
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A crack team of legendary British players was put together for this session. But Stan himself sets the tone in the first thirty seconds of the title cut with an aggressive, audacious piano intro that makes you sit up and go 'Wow!'. This is an album that exemplifies the classic British big band sound: tart, bright, punchy. But it also pushes the envelope way out with its' confidence and wild musical invention. It's full of fantastic loud, huge, wide chords that are big enough to stick your whole head in.
This album is a much a product of its time as the Beatles' Revolver, and it's no coincidence that it was also recorded at Abbey Road (and beautifully recorded at that). British music and culture was at a zenith, and you can hear the sunshine and swagger in the likes of "Pig And Pepper" and "Summer Hallucinations". "Afro Charlie Meets The White Rabbit" has a psychedelic edge with outrageous discords and an off the wall arrangement which never meanders or loses focus. The lovely "Fantasies In Bloom", provides some breathing space. It seems dangerous to single out one player but I particularly love the trumpet section and Kenny Baker's trumpet feature on the intense "Murdering The Time".
Right up to the glorious conclusion of "Portrait of A Queen" there's not a precious second wasted in 38 brilliant minutes. They really don't make 'em like this anymore. Thankfully you can hear 'em again, thanks to Clark Tracey and his programme of reissues of his father's music: truly a labour of love in a very bad world. Great stuff!"
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Tim Stenhouse. UK Vibe/ Jazz culture online
While the jazz suite based on 'Under Milk Wood' has righlty been vaunted as Tracey's masterpiece, relatively little has been written about his foray into big band writing and playing...more
At the time of this recording in 1966, Ellington was still going strong and enjoying something of an Indian summer with 'The Far East Suite', while other emerging leaders such as Gerald Wilson were recording prolifically on the west coast for Pacific Jazz. Meanwhile in the UK, Tubby hayes was soon to release his own take on the big band sound with the excellent '100% Proof'. The album 'Alice in Jazz Land', first issued on UK Columbia, reveals both his American compositional influences and a distinctly British execution, at times almost rustic, yet full of passion. It has a very modern mid-sixties recording feel and a fascinating choice of titles to match. Key tracks include 'Fantasies in Bloom' and 'Teatime Gavotte'. However, the album should be viewed as a whole as a triumphant attempt to transpose the small group sound that Tracey was so fond of into the fuller big band ensemble. A much underrated album that deserves its place in the pantheon of 1960s British jazz.
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John Fordham. The Guardian
The octogenarian Stan Tracey has run into such sustained acclaim for his various ventures over the past couple of years that he has almost found himself recast as a wholly contemporary musician...more
- which, in the vigour and invention of his playing, he is. But if it borders on disrespectful to get nostalgic about Tracey's past, it's good to be reminded of an earlier period in which he was also hot jazz news - the 1960s. This crackling 1966 big-band set is more remarkable for its endlessly evolving ensemble subtleties than its improvising, Tracey furnishing pungent new rejoinders and creative disputes with both the soloists and the original themes.
The Ellington influence is always clear on Tracey's big-group ventures (such as the swoony Fantasies in Bloom), and the title track confirms how early Monk-inspired conceptions of rhythm took root in the pianist's chordal punctuation. Summer Hallucinations, with its gliding alto-sax solo, recalls the Cool School, and Murdering the Time is a raucous, squalling flyer. The contrast between Bobby Wellins' eccentric lyricism and the late Ronnie Scott's relaxed swing in the tenor-sax section is a bonus.
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The Ellington influence is always clear on Tracey's big-group ventures (such as the swoony Fantasies in Bloom), and the title track confirms how early Monk-inspired conceptions of rhythm took root in the pianist's chordal punctuation. Summer Hallucinations, with its gliding alto-sax solo, recalls the Cool School, and Murdering the Time is a raucous, squalling flyer. The contrast between Bobby Wellins' eccentric lyricism and the late Ronnie Scott's relaxed swing in the tenor-sax section is a bonus.
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Chris Parker - Vortex.co.uk
The second release from the ReSteamed Records Collectors' Series, this (mainly) big-band session was recorded a year after composer/pianist Stan Tracey's enduringly popular Under Milk Wood Suite, and it features three of the quartet from that album...more
(Tracey, tenor player Bobby Wellins, bassist Jeff Clyne) plus four trumpets, three trombones, two altos, another tenor (usually Ronnie Scott), baritone player Harry Klein and drummer Ronnie Stephenson.
The material is named ('Pig and Pepper', 'Portrait of a Queen' etc.) loosely after scenes from Alice in Wonderland, but is not programmatic in any stricter sense, consisting of Monkishly eccentric, spiky themes leavened with the odd passage of almost Ellingtonian elegance ('Fantasies in Bloom').
The pungent power of Tracey's composition has retained its appeal well over the forty-odd years that have elapsed since the suite was recorded in 1966: the punchy, occasionally shouting ensembles are judiciously balanced against pleasingly bleary solo contributions from Wellins and characteristically percussive, idiosyncratic yet cogent soloing from Tracey himself (his tripping, delightfully discursive playing on 'Fantasies in Bloom' a particular highlight), but what is most impressive is the overall confidence, even swagger, that permeates the writing and playing Î like all his extended works, Alice in Jazz Land, while clearly indebted to his great inspirations, Ellington and Monk, is immediately identifiable as quintessential Stan Tracey.
A revealing and highly enjoyable reminder that there was a lot more to British musical life in the 1960s than the Beatles and the Stones.
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The material is named ('Pig and Pepper', 'Portrait of a Queen' etc.) loosely after scenes from Alice in Wonderland, but is not programmatic in any stricter sense, consisting of Monkishly eccentric, spiky themes leavened with the odd passage of almost Ellingtonian elegance ('Fantasies in Bloom').
The pungent power of Tracey's composition has retained its appeal well over the forty-odd years that have elapsed since the suite was recorded in 1966: the punchy, occasionally shouting ensembles are judiciously balanced against pleasingly bleary solo contributions from Wellins and characteristically percussive, idiosyncratic yet cogent soloing from Tracey himself (his tripping, delightfully discursive playing on 'Fantasies in Bloom' a particular highlight), but what is most impressive is the overall confidence, even swagger, that permeates the writing and playing Î like all his extended works, Alice in Jazz Land, while clearly indebted to his great inspirations, Ellington and Monk, is immediately identifiable as quintessential Stan Tracey.
A revealing and highly enjoyable reminder that there was a lot more to British musical life in the 1960s than the Beatles and the Stones.
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