Jazz Vibes

1. Nat Birchall “Peace in Nineveh” (Sound Soul And Spirit)
2. Lina Nyberg Quintet “Invisible”(Prophone)
3. Gregory Porter “1960 what” /Black Nile (Motema)
4. Mattew Halsall "Music for a dancing mind" (Gondwana)
5. Maciej Fortuna Quartet “Lost Keys” (4Tuna)
6. Tomet Grochot feat: Eddie Henderson “Headprints” (Zaiks)
7. The Core - "Invitation" (Moserobie) .
8. Mel McGary “Black Narcissus Alttk (Meluke Music)
9. Simple Acustic Trio “Simple Jungle” (Not Two)
10. Our Park “Park” (HOOB)

Mick O'Donnell 

Sacred Dimension
 from Nat Birchall on Gondwana Records.

Over the last few years British saxophonist and composer Nat Birchall has carved out a singular niche for himself. A deeply soulful, spiritual saxophonist whose beautiful recordings for the Gondwana label have moved people to suggest that the spirit of Coltrane was alive and well in Northern England. But Birchall is more than a slavish imitator of Coltrane's sound there is a sense of tranquility and depth of feeling in Birchall's music that recalls more than just Coltrane's notes and a desire for honest, soulful communication.

For Birchall Sacred Dimension is a clear progression from his two most recent albums, building on Akhenaten's spiritual wholeness and Guiding Spirit's fuller sound, but with a new richer, deeper sound.

Harpist Rachel Gladwin features on all tracks bringing her own beautiful, folk tinged, take on jazz harp to the music and vibist Corey Mwamba guests (who Birchall met in Arun Ghosh's band) and brings a soulful openness to the music as well as a real energy. Wonderful, empathetic pianist Adam Fairhall remains from the last two recordings. A beautiful player who manages to sound free while always serving the music. Fairhall's luminous playing and complete commitment does much to illuminate the music as does new bass player Nick Blacka whose big strong sound and ability to vary the bass line without losing the essential character of the music does much to drive the album. There is a change in drummer with Andy Hay, who Birchall describes 'as a force of nature' bringing a powerful conviction to the music playing as he does 100% in the moment.

Finally, where Guiding Spirit featured a percussionist for this album Birchall decided he wanted something rawer and less skilled so he handed out bells and percussion to the band members and just asked them to play as they felt it, even roping in Rachel's brother Rueben, who was hanging around the studio, on one tune.

The album's title track, `Sacred Dimension' is inspired by the concept of elevation through music, and the cover painting is by Birchall. A painter before he took up music Birchall was inspired to take up the paintbrush for the first time in nearly 30 years by the recording of the album. The track Ancient World is partly named for the sound of Gladwin's harp (which brings a timeless quality) but also as the song is based on the 'Phrygian' mode. A first take, you can hear how the band locked into the groove immediately. Dance Of The Mystic is based around a repetitive rhythm that takes on an almost trance like intensity. While the serene Peace In Nineveh takes inspiration from the poem 'Cargoes' by John Masefield and an opening line reference to "Quinquireme of Nineveh from distant Ophir, rowing home to Haven in sunny Palestine..." and finally Radiant Will takes it' s title from a Stanley Crouch essay on Coltrane, where he describes him as "a man of radiant will", which chimes with both how Birchall feels about Coltrane but also with the soulful honesty that Birchall brings to his own music, music that with it's own radiance succeeds in defining Birchall's very own Sacred Dimension!

Released on trumpeter Matthew Halsall's Gondwana label, the album is also available on a strictly limited 180gram vinyl pressing on Birchall's own Sound Soul and Spirit record label. It was a decision inspired by Birchall's long held passion for vinyl and the desire to hear his music through the same medium that he first fell in love with.

Don Brown

The Jazz scene in Boston – A Look Back -The Jazz Workshop – Paul’s Mall
(The following is based on my personal knowledge and experiences)

Jazz is the art of expression set to music! Many say it is “the fundamental rhythms of human life and man’s contemporary reassessment of his traditional values”. Hundreds, if not thousands, of books and articles have been written on the origins of Jazz based on Black American life-styles. The early influences of tribal drums and the development of gospel, blues and “field hollers” seem to point out that Jazz has to do with human survival and the expression of life. Jazz soon came to describe a musical art form, whether under composition guidelines or improvisation, it reflected spontaneous melodic phrasing. Many who play/played have expressed the feeling that Jazz should remain undefined, and “should be felt”. When the great Louis Armstrong was asked about the definition of Jazz, he stated "If you gotta ask, you’ll never know" The standard history about Jazz is that it was started in New Orleans and moved up the Mississippi River to Memphis, St. Louis and finally Chicago. However, the influences of what led to those earlymNew Orleans sounds goes back to tribal African drum beats and European musical structures.

Boston native George Wein opened Storyville at the Hotel Buckminster in Kenmore Square in 1950, and a steady stream of Jazz greats performing in Boston increased further. Billie Holiday, Dave Brubeck, Charles Mingus, Sarah Vaughan, Erroll Garner, etc. all set up there. The tradition of legendary venues continued in later years, with the Jazz Workshop, Paul's Mall, Lulu White's, Wally's, the Regattabar, and Scullers among the most noteable hosts of memorable jazz performances.

The Jazz Workshop, Boston, Massachusetts, was actually opened in the early 1950s. Charlie Mariano encouraged Varty Haroutunian (Hart), Herb Pomeroy, and Ray Santisi, a quartet of local jazz legends, to start a school, aworkshop, that offered classes and private lessons, and also hosted jam session. They created a place where students could play with professional musicians. They rented some space on Stuart Street near Copley Square, moved in a few pianos, and in 1953 the first Jazz Workshop opened.

The manager of a bar around the corner, the Stable, on Huntington Avenue, met with Haroutunian and Santisi with a proposal that they play gigs in his club. They started in early 1954, and that was the beginning of the jazz policy at the Stable. It began as a trio- Haroutunian - tenor sax, Santisi - piano,and Peter Littman - drums. After a while other musicians started coming around. The trio became a quartet when bassist John Neves joined and eventually Herb Pomeroy and joined the band. This was not the same as the Jazz Workshop itself, it was a separate entity, and teaching activity began to fade. But the musicians kept "Jazz Workshop" as the unofficial club name. The room soon became packed with enthusiastic listeners. Other Boston musicians were often regulars there, including Joe Gordon, Serge Chaloff, Lennie Johnson, Dave Chapman, and everybody wanted to sit in; and even singers like Barbra Streisand took a turn on the bandstand.

Alan Dawson                 Joe Gordon              Serge Chaloff

In 1962 the club (Stable) was torn down in order to build the Mass. Turnpike Extension. Harold Buchalter told the Stable crew that he planned to open another room on Boylston Street In 1963 that club, named the Jazz Workshop, opened. On opening night, Stan Getz was the headliner.

In 1965 Fred Taylor, Tony Mauriello, and Peter Lane assumed ownership of the club. Taylorand Mauriello were successful in building the Jazz Workshop and another club, Paul's Mall.

Both clubs played a major role on the Boston jazz scene for the next 15 years. I recall hearing about a Jazz performers in the 60’s and seeing some of the most prominent Jazz artists, around the early to middle 70’s, at the Jazz Workshop and Paul’s Mall. The atmosphere was “intimate and cool” and the energy was phenomenal. Artists such as Duke Ellington, John Coltrane, McCoy Tyner, Jimmy Garrison, and Elvin Jones, Charles Mingus, Sun Ra, etc. played theses venues.

(Left ) John Clotrain with McCoy Tyner, Jimmy Garrison and Elvin Jones - Jazz Workshop (1964)

(Right) Duke Ellington & his Orchestra Paul's Mall (1970)

(Left) Charles Mingus - Jazz Workshop 1974  (Middle) Charles Mingus and George Adams

(Right) Sun Ra and his Arkestra, Jazz Workshop, Boston, 1975

Right) Marshall Allen and June Tyson

 (Left) Ronnie Boykins, John Gilmore, Marshall Allen