Glasgow Jazz Festival top picks coming soon! #musicconsumption #festivals

I love it when a festival programme comes out.  I am often found scouring a paper copy with a red marker pen or perusing a website with my diary beside me.  I look for favourites and read about other performers I may not be familiar with. If a band or performer catch my eye/ear in a festival programme or on the radio I am in the habit of instantly looking them up on YouTube then I will make a note in an app (Simplenote) on my phone.   The combination of YouTube and the notes app is useful when helping to decide if I want to see them live, buy their music (I check the list on my phone if I am in a music store) or read further about them.  I took a look at the Glasgow Jazz festival website today and instantly You Tubed Orchestre Poly-Rythmo. Bing! Discovered I liked them.

I have always enjoyed other people’s recommendations when it comes to music. As I teenager I swapped vinyl, made mix tapes for friends (yes, still got them!) At high school my experience of how cool you were was often linked to how frequently you were seen carrying a square bag with desirable vinyl in to share with friends.  If it was in a cool indy record store bag all the better and if that bag was black and from an exotic location such as Falkirk or Glasgow you were laughing.  Now I rely on YouTube often for musical exploration although I do still have a some friends that lend me CDs. Interestingly always jazz lovers (or jazz educators?)

One of the things I like about YouTube is that whenever I have a moment that needs to be satisfied with music, it is always there. It provides instant musical gratification (see my favourites list at the end of this article). Not in the same way a live concert can but nearly.  I can get a feel for an artist.  I particularly started doing this when I was stuck in at home with my baby sons and couldn’t get to live gigs (arghhhhh!)  I love filming at concerts so that I can add to the online music community.  I hope that others who are exploring music (or are stuck in the house with other responsibilities) may find a great band or performer through my clips.

The full programme for the Glasgow Jazz Festival will be released in the next couple of weeks and I will have my diary out, I will be You Tubing, Googling, checking social media I will decide on my top picks and if I will review any of the gigs. Happy Days.

Borrowed CDs  from a friend when exploring Sonny Rollins music

Listed below are my top ten You Tube clips from the last few years. The ones I always return to. They keep me going!

Charles Mingus Boogie Stop Shuffle,  Sonny Rollins St Thomas, Charles Mingus Moanin,  Scottish National Jazz Orchestra  play Gershwin’s Rhapsody in Blue, Stan Getz and Charlie Bird Jazz Samba, Esbjorn Svensson Trio GoldWrap,  Cecil Payne Patterns of Jazz,  Irene Kral This is Always,  George Garzone Spring Can Really Hang You up the Most,  Joe Henderson Black Narcissus,  John Coltrane Naima,  Chet Baker Come Rain or Come Shine and when I need a happy visual I remind myself of this.



David Bowden’s Mezcla, A Review, #GlasgowJazzFestival, 21 June 2017


Mezcla, brought to us by award winning bass player and composer David Bowden, were recently described as encompassing “a bubbling broth of influences, from West Africa to Latin America, soul to folk” by Jim Gilchrist of the Scotsman. This gig took place on the first night of the Glasgow Jazz Festival in The Hug and Pint* on Great Western Road. It was the evening of the summer solstice so I was expecting there to be magic in the air. The first sign of magic was that there were more musicians crammed onto the tiny stage than I had imagined there could be. The second was that one of them was Steve Forman with his cabinet of percussive delights. Thirdly Mezcla had guest vocalist Rachel Lightbody sprinkle some vocal magic over the evening.

The band were launching their first EP and they featured all 4 tracks on the night.  The venue was busy and the band started with Sami’s Tune followed by Knockan Crag which took us on a musical journey from Scotland to South America with some latin sounds coming in as the piece developed. Michael Butcher gave us a sax solo on Chrysalis but he really came into his element after the break when we were treated to some beautiful tenor sax playing. On Mindsweeper we heard an excellent guitar solo from Ben MacDonald. The first set finished with Auckland Hill.

The second half of the night really showcased each musician’s skills. Everyone did solos, communication was excellent and we heard  how the music of Oumou Sangare from Mali had influenced David’s composition on a track named Oumou. This tune also featured a percussion solo from Steve (see video here). This was followed by Shoot the Moon and then the final three tracks were Malarone Dreams, North Cape and Happy Monkey Dance. During the last track Stephen Henderson and Steve Forman had a good natured, energy filled percussion and drum battle and the night definitely finished on a high.

You can read more about Mezcla in a short interview I did with David Bowden below:

How do you feel about playing at Glasgow Jazz Festival this year?  What’s your experience of the festival?  Since I moved to Glasgow in 2011 I’ve been going to things at the festival every year and it’s always been inspirational. Particular highlights have included seeing Fly Trio last year and performing with Square One at the Old Fruitmarket supporting Joe Locke, also last year. This is my first gig as a leader at the festival so it feels like significant step up and I’m looking forward to it!

What opportunities has winning Young Scottish Jazz Musician of the Year brought to you? Part of the award was a recording session at Edinburgh Napier studios, which I used to record the Mezcla EP. The other parts of the prize were this gig at Glasgow Jazz Fest, a gig at the Blue Lamp in Aberdeen in August (part of the Aberdeen International Youth Festival) and a gig at London Jazz Festival in November. The award has definitely come in useful for me as far as launching this new band, as it’s immediately put some great gigs in the diary which has forced me to get everything together (compositionally and organisationally) to a tight deadline. I’ve been wanting to put a band like this together for a while, so the award has been a great catalyst for that! I also feel like the award has also been useful in my freelance career –  since winning I have played in the Konrad Wiszniewski Quartet at Aberdeen Jazz fest and this weekend I am playing on Gordon Macneill/Malcolm Macfarlane’s new record.


You have just launched an EP , does Mezcla have a recording contract? The EP is self titled and it is available to buy on (download and physical copies available). It’s a 4 track EP which showcases a lot of different sides to the band’s sounds from the heavily West African influenced ‘Malarone Dreams’ and ‘Chrysalis’ to the rock influenced contemporary jazz ‘North Cape’ to the upbeat party track ‘Happy Monkey Dance’ The EP is a self-release.

How did you chose the band’s name? Mezcla means mixture in Spanish. I could come up with a load of reasons why it’s relevant but basically I just like the word – I have done ever since doing Spanish in school. I also figured it kind of works because the music has a diverse mixture of infuences – jazz, latin, African, funk/hip hop, rock, soul etc.

How would you describe your sound?  I would describe the band’s sound as a blend of soulful jazz fused with energetic grooves from West-Africa and Latin America. I listen to a lot of pop music and to me it’s very important for music to have strong melodic hooks and I hope that the music will stick in people’s heads after they leave the gig. I’d like the music to appeal to everyone – not just Jazz fans.

How have you been shaped as musicians?  All of the guys in the band have varied influences, which is part of what gives the band such a diverse sound. I write all the music but all of the musicians bring their own elements to the table as far as shaping the overall end product. Personally I’ve been very influenced by a lot of the musicians in the Glasgow Jazz Scene but also very much by pop music – compositionally I like to make sure that my music has a singable ‘song-like’ quality to it. At the beginning of this year I spent a month in Ghana studying the traditional music of the Volta Region (Borborbor, Agbadza) etc, which has been a big influence on some of the music I have written. It was also significant in terms of my outlook – all of the musicians there play simply because it’s what they love to do and it’s totally entrenched in their culture. I try and draw from that by simply playing in the way that I want to and not to prove anything – just playing and writing in the way that feels most natural and in the way that I think will be most fun for myself and those around me.

What do you hope to achieve when you play live?  I want the music to be fun for the audience to listen to. I think the music is very groove based and hope to get some dancing going in the crowd! I hope that the music will appeal to all music lovers and not just those that have studied jazz specifically.

I think the jazz audience is getting smaller partly because a lot of music seems to be written to appeal solely to other musicians. What I hope is that this music will connect with a wide range of people and hopefully convert some people who may not think of themselves as jazz fans!

What are the bands plans for the future?  We have a slot at Mugstock festival (in Milngavie) at the end of July – I’m looking forward to seeing how the band goes over in a non-jazz setting, it should be fun! We’re also playing the Blue Lamp in August and London Jazz festival in November. I’m hoping to book a series of dates around Scotland/possibly the UK in the run up to the LJF gig. We are also planning a double bill gig in the autumn with Graham Costello’s Strata band, who are contemporaries of ours from the RCS, although this is TBC at the moment.

What are you listening to currently? Recently I’ve been listening to a lot of singer songwriters – artists such as Lianne La Havas, Kwabs, Tom Misch and Ady Suleiman. What I like about all these artists is that their music is a combination of all the things I like the most – great melodies with nice grooves and interesting harmonies.

I’ve also been listening to a lot of music from around Africa, artists like Thomas Mapfumo, Toumani Diabate, Tinariwen, Oumou Sangare and others. I’ve also been listening a lot to a band called Susso which is a collaboration between London based jazz/electronic musicians and traditional musicians from the Gambia.

In terms of Jazz, I always come back to Hank Mobley’s Soul Station along with the classic Miles Davis Quintet albums (Relaxin, Cookin etc.), they’re the albums that got me into jazz in the first place. In terms of contemporary jazz – I love Aaron Parks’ music as well as Brian Blade Fellowship and Jonathan Kreisberg. I’m also a big fan of Snarky Puppy.


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*The Hug and Pint is a vegan bar, eatery & music venue and since it opened two years ago they have aimed to provide a friendly atmosphere and have regular gigs of well-established and up-and-coming local artists.


Bobby Wellins Obituary

Alison Kerr's Jazz Blog

Bobby_Wellins 2 Bobby Wellins (c) Trio Records

Bobby Wellins, who has died at the age of 80, was not only Scotland’s first great jazz tenor saxophonist but also an icon of British jazz whose influence would have lived on even if he had never played again after 1965, when he featured on the iconic album of Stan Tracey’s Under Milk Wood suite. 

His gorgeous and evocative solo on the track Starless and Bible Black has regularly been named as the single most memorable British jazz solo ever recorded – and his haunting, Celtic-tinged sound was undoubtedly a huge inspiration on generations of young musicians, among them fellow tenor saxophonist, composer and educator Tommy Smith who was responsible for bringing Wellins’s own Culloden Moor Suite, to life five years ago when the Scottish National Jazz Orchestra and Wellins recorded it and performed it to considerable acclaim. Its concert performance at the Royal…

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