Alexander Hawkins

p.s. is Andorra EU?

Oxley always blended well with Cecil and was hair-trigger fast in catching Cecil's rhythms. From an overall sonic perspective, just a few seconds of rest here and there would have been welcome. Granted, it's very intelligent movement, but there are plenty of pieces in classical piano literature that require the same kind of hand crossing movements that Cecil uses. The Feinberg Sonatas are full of passages like these. Cecil's technique is totally grounded in classical training and because of THAT he is able to play and execute whatever he wants to. And though it is motherfucking physically demanding he makes it look beautifully graceful. And his stamina, physically and mentally, is astounding. Each set, Cecil plays about as much piano as most of us play in a week. Two sets a night, six nights in a row at 79. Michael - no, absolutely - I'm aware of hand crossing etc. in the classical repertoire! I wasn't referring to that, but rather to his rocking/swaying [neither quite the right word; I'm too tired to rustle that up at the moment!] at the keyboard, which really seems to facilitate his passage-work. And yes - as you say, he is so graceful at the keyboard!

With George Wein? That's be interesting. But seriously, It's Taylor with Oxley. Yeah - and it's such *physical* piano playing. It always amazes me how ingenious Cecil is in his movement at the keyboard. The 'dancing' really enables him to play gestures which from the traditional 'classical' posture (for want of a better word) really are next to impossible to play.

Just listening to Ellington playing celeste and singing (!) on 'Moon Maiden' from 'The Intimate Ellington'. Great one!

Was it with Oxley?

88 tuned drums.

Last night - Mahler 8 at St Paul's Cathedral. Gergiev, LSO, lots of singers

LP on Columbia from I think the late '60s or early '70s (not sure when recorded) that has Papa Jo exploring various parts of the kit and discussing them, from what I'm told not unlike the Baby Dodds in some respects. I'd like to get a copy. The Dodds, of course, is a hell of a record. Ah - thanks! I love the Baby Dodds record.

Check this out: Great - thank you!

Nice one - thanks!

The Berg is great - a real favourite! Have the dots somewhere...haven't looked at it in ages though...I must root it out and do so! p.s. am I making it up, or is there a Naxos Historical issue of Medtner playing Medtner???

What is the solo Jo Jones??? Sounds fascinating!

I think Halvorsen is totally wonderful with the new trio. A few years ago, but I really like John Shiurba as well on the Ratascan GTM box.

Ah...also 'The Struggle Continues'! Just being facetious really. I don't keep up with 'typical' ECM releases, so I can't really comment!

Well...I suppose there were the Evan Parker/Roscoe Mitchell things...

I hope I'm misinterpreting the comments about behind bars vigilantism here? Surely you can't seriously be defending that, let alone calling it 'admirable'? Back to the original question - it's been covered fairly widely over here - but (thankfully, because it's the type of parochialism I can't stand) there doesn't seem to have been too much defence of him by 'virtue' of his being British. No uproar over the guilty verdict or sentence, that I've seen/heard/read.

Right - I'll say it, then get my head down. Please, please, please: Germany to beat the wretched and evil Liverpool/Arsenal agglomeration playing under the assumed name 'Espana'. [no hard feelings; tribal loyalties - you know how it is ]

I was meaning to ask if you caught any of Harris' gigs! Do say hi if you see him. I'd love to hear them do 'Convergence' - that groove is such a beautiful one to play on. Harris has a real gift for making otherwise complex rhythms sound very natural and flowing/swinging/whatever. Another great example is the last tune on his 'Ahmisa' big band CD.

Nate - absolutely intrigued by your discussions of the Parker/Fernandez/Guy/Lytton. As sidenote - as you say, it's far from that he's not listening to other players - my sensation is that I don't think I've ever played with anyone with such an uncanny ability to hear absolutely everything you do! He has simply incredible ears. Also - must check out the BGNO. Haven't heard them, but that write-up is enough to sell it to anyone!

Very interesting Nate - sounds like some great stuff!

Jazz on [bBC Radio] 3 tonight: Jazz On 3 – A Tribute to Esbjörn Svensson Tonight – 20th June – at 11.30pm on BBC Radio 3 Tonight we pay tribute to Swedish pianist Esbjörn Svensson, who died last Saturday 14th June in a diving accident. He was 44. When we first recorded e.s.t. back in 1999, it was clear that Esbjörn’s trio with bass player Dan Berglund and drummer Magnus Östrom was very special. But it would have been hard to anticipate, sitting in the Pizza Express Jazz Club, just how influential this band would become over the next decade. With their anthemic tunes, seemingly telepathic group dynamics and commitment to the concept of the band, e.s.t. were always compelling; on record, but particularly live in concert. They headlined festivals and concert halls around the world and there’s no doubt they introduced new, and younger, audiences to jazz. Tonight we’ve music from that 1999 gig and extracts of three other e.s.t. performances, recorded in 2001, 2002 and 2005. (In fact, we’ve recorded e.s.t. for Jazz On 3 more times than any other band). We’ll also hear memories of Esbjörn from his friend and collaborator Pat Metheny and ACT record label founder Siggi Loch, who released many of e.s.t.’s albums. Jazzwise Magazine editor Jon Newey joins Jez in the studio to discuss e.s.t.’s legacy and there’s a chance to hear archive interviews with Esbjörn and his band-mates. Do send us your memories of Esbjörn Svensson and e.s.t. - jazzon3@bbc.co.uk - Jazz On 3 Forthcoming highlights on Jazz On 3: Jun 27th – Saalfelden Jazz Festival Highlights - Jez’s pick of the gigs at last year’s superbly-programmed Saalfelden Jazz Festival in Austria.

Up again - in Reading this weeked playing standards with the great Lol Coxhill...as ever, would be fantastic to see anyone there!

This is really kind of you...and of course, I agree - it's really important we keep trying to make the music...even if it's increasingly (sadly) difficult to learn the craft from the real masters 'in person'...