Documentary telling the story of Britains postwar infatuation with old New Orleans jazz. With rare 78rpm imports as their only guide, a generation of amateur jazz enthusiasts including Humphrey Lyttelton and Chris Barber created a traditional jazz scene that strove to recreate the essence and freedom of 1920s New Orleans in 1950s Britain.
Documentary tells the story of the emergence and evolution of the British music festival through the mavericks, dreamers and dropouts who have produced, enjoyed and sometimes fought for them over the last 50 years. The film traces the ebb and flow of British festival culture from jazz beginnings at Beaulieu in the late 50s through to the Isle of Wight festivals at the end of the 60s, early Glastonbury and one-off commercial festivals like 1972's Bickershaw, the free festivals of the 70s and 80s and on through the extended rave at Castlemorton in 1992 to the contemporary resurgence in festivals like Glastonbury, Isle of Wight and Reading in the last decade. Sam Bridger's film explores the central tension between the people's desire to come together, dance to the music and build temporary communities and the desire of the state, the councils and the locals to police these often unruly gatherings. At the heart of the documentary is an ongoing argument about British freedom and shifts in the political, musical and cultural landscape set to a wonderful soundtrack of 50 years of great popular music which takes in trad jazz, Traffic, Roy Harper, the Grateful Dead, Hawkwind, Orbital and much more.
Its evident from hearing the jazz big band works of composer, arranger, conductor and trombonist Henry Wolking’s debut album on Big Round Records, IN SEA, that he effectively mixes complexity with simplicity in his jazz harmonies and colorful orchestrations that make for an exciting and memorable listening experience. The inspired solo work of band members and guest artists add to the sincere and fresh cosmopolitan character of the recording.
Jazz Loves Disney was recorded between Paris, London and Los Angeles by a dream cast. It is incredibly coherent, as if all participants had agreed to pay a rightful tribute to the most beautiful and symbolic tunes of Walt Disneys magic world, as if nothing was too good for the stars when they revisited the classics and the sweet childhood memories connected to them. This is the ultimate proof of the impact Disney has had on generations of jazz musicians, including the ones taking part in Jazz Loves Disney.
Chucho Valdes, Cuba's most famous jazz musician, has rebalanced the repertoire of his Afro-Cuban Messengers on Border-Free, mixing its American-jazz agenda (the group's name deliberately references both Valdes' roots and the late Art Blakey's classic soul-bop Jazz Messengers group) with more extended Latin-American input, and some Native American and Andalusian connections, too. Saxophonist Branford Marsalis, guesting on three tracks, is warmly romantic on tenor on the loping Tabu, agile and fluent on the Cuban dance-shuffle Bebo, and mercurial on a soprano-sax break full of north African microtonalisms on the hurtling, horn-hooting finale, Abdel.