David Williams

Now playing: Hill !

Bizarre! I bought a mono 1968 copy of this LP 2nd hand in the late 70's - he has no profile over here, didn't realise he had one over there, but his version of California Dreamin' is one of the tracks constantly played on my mental-jukebox.

One of my companions was very disparaging - particularly annoyed by their inability to hold a groove for more than a few moments (Wayne's bands seem more inclined to lock into a groove in really small venues where the audience is practically breathing down their necks). I enjoyed it though; partly because I was pleasantly surprised by the compositions.

The one thing I made it to Cheltenham for this year was Wayne Krantz with The Partizans at the Everyman - right in the front row. I just prefer to stand for any kind of jazz, and if the stage is only a foot high and the musicians have to walk through the crowd to the bar at half-time, even better. Everyman's good, though - if Andrew Hill had been playing there instead of The Pavilion, I may just have broken my other engagement. Actually, I'm starting to wish I had anyway.

And a great alligator joke too.

Me leica too - thanks for posting it. A friend said to me recently he loved wah-wah guitar, but there's only so much he can take - I just do not understand that. Ooh! Just got to the 'pirate' bit!

The restraint was partly down to knowing I can get them online when I want to, but it was nice to be able to handle them without having to buy them first. Also, I only had £20 on me. I wasn't so keen on the Pavilion as a venue - too big and too barn-like - are any of the other Bath venues more intimate?

I really enjoyed Supersilent. It reached a peak with the Chicago house-style pulse about 2/3 of the way through. The more abstract parts of Sidsel Endresen's set weren't to my taste - preferred the more conventionally folky singing (fantastic voice) - and someone shoulda tuned that piano! (Ho ho!) Nothing I've heard by Matthew Bourne has impressed me as much as the solo session he did for Jazz On 3 last year - his group stuff has left me cold. Sorry to hear Trio AAB was a disappointment. I enjoyed the vibe out by the bar at The Pavilion - spotted a few vaguely familiar faces, and Andy Sheppard was milling around. Great CD stall - I've never seen anything like that incredible choice free/improv discs. Limited myself to picking up just the LJCO's Double Trouble Two, though. Sounds like a there's potential for two or three of us to meet up next year. Copies of The Times and red carnations all round!

For various reasons I only made it to Bath for the Midnight Sun Norwegian night, on Friday (variable, but hit some great heights). I was hoping to get to see Schweizer, at least, but wasn't to be. Next year I'll be planning ahead, because this was the most interesting festival line-up I can remember seeing, for my taste.

Oooh! I almost used the 'Report This Post' function for the first time: there may be a couple of weaker songs on there, but I love that record. I can do without anything after Poetic Champions, myself. Least favourite pre-80's LPs: Common One and Hard Nose The Highway - they just didn't take with me. Most of the others I love, but Astral and Moondance stand alone: he used to really let go with his singing in those days. Either he's not capable of hitting the singing and writing heights anymore, or he can't be arsed.

So, did your chit-chat yield anything worth repeating Johnny?

Ditto.

....or get a big stick and start beating those bins along to the music! (I like it a lot, even though some of the drumming is a bit stilted to my ears.)

You may disappear Daniel - don't risk it.

Simultaneously frightening and depressing, yet somehow encouraging and uplifting, isn't it. The BNBB has been mentioned in Jazz Review and Jazzwise now.

Glad you found it interesting. The site's homepage is HERE. I've only just got round to exploring. There are also interviews with Derek Bailey and Joe Morris - ain't read 'em yet, though - plus various reviews.

I have been playing Sunday's Child a lot over the last week or so. It's probably suffered on previous plays for being put on as background while playing with the children, but now I've really listened properly I'll say it's as good as anything else he's produced - my favourite at the moment, anyway - that blend of acoustic guitar, double bass and effects-laden eletric guitar is gorgeous. I'm enjoying Live At Leeds too. 20 minutes of Outside In! The bonus tracks are dispensible though - the rock'n'roll tone to those tracks doesn't suit him as well.

Oh Lord, how did I manage that? I'll edit it.

I meant to - I went the site, got reading, and ended up forgetting about this and getting Bob's Pink Cadillac instead - fancied hearing William Parker with a clarinet player.

Glorious Fool is one I haven't heard, which I probably should. I used to much prefer his acoustic stuff, but I've warmed to his electric playing to the point where I love it as much, if not more. Over the last few years it's Inside Out and Sunday's Child which have had the most play.

Think I'll try and make time to listen to Sunday's Child again tonight.

Hope Kenny gets to sing too.

I've just been waxing lyrical, inspired by another listen to Inside Out, on BFrank's 'John Martyn' thread.

His Sade persona has developed since the early 80's. It bears very little relation to his early/mid 70's work (although you can hear the seeds occasionally). Anyone interested in his music must hear Bless The Weather, Solid Air, and Inside Out (can't decide on a favourite.... maybe Inside Out): if you try any others, and don't like them, you still have to hear these albums. BTW (1971) is mostly acoustic - superb guitar playing and songs, very rhythmic; Solid Air gets a little more electric - the title song is an absolute classic, with Danny Thompson as important to the success of the track as Martyn; Inside Out is an aoustic/electric/echoplex near masterpiece - listened to it again tonight - the closing track, So Much In Love With You, is a tripped-out folk/blues/soul piece of heaven. Beyond these, Sunday's Child shares many of the same qualities - maybe not quite on the same level, although You Can Discover (in the same vein as So Much In Love With You) is essential, but I wouldn't want to be without it - and One World has some beautiful songs on it too, especially Couldn't Love You More - soulful and sentimental. One World, I think, is where his albums started to contain a few too many not so great songs. Piece By Piece, I still like, and the recentish Glasgow Walker sounded nice. I'm a critical fan. And I've earned my spurs at the gigs too - he nearly killed us at The Mean Fiddler, solo, around the late 80's - pissed, high, mouthy, just him and his box of tricks, turning the volume up after each song - belligerent bastard. He was sublime, again solo, at Sadlers Wells, around the same time. Shaw Theatre - late 80's/early 90's, with a band that time - he just wouldn't stop playing - we had to leave before the end. I'm really looking forward to hearing Live In Milan to get a taste of his solo act again. Fantastic guitar player.

My Sunday's Child is a knackered one too. I'm not even all that fond of most of the songs on it (though You Can Discover is up there with his best), but I listen to it now and then for the vibe - Danny Thompson's a large part of that - I haven't hear anyone else play the double bass the way he does. I've also ordered Live In Milan (1979) fom Voiceprint (thanks for drawing attention to that site, Mike) - solo Martyn, with his box of tricks. I do actually like the use of synths on Sapphire, and I even like his glossy late 70's and 80's sound when I'm in the mood, but for me, the essential JM is with acoustic or echoplex guitar and Danny Thompson's bass in harness.