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EDITORIAL

CAPITAL JAZZ

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Kevin Kennedy

STEVE LACY -A Personal View Andrew Turner STEVE LACY Brian Case UNFORTUNATE, LIKE A FOX Brian Case DM&HOLLANDIdULIUS HEMPHILL RAN BLAKE Barry McRae EARLY EVENING JAZZ Val Wilmer SCATTING & BOPPING Kevin Henriques ERIC DOLPHY Steven Burgen WHAT LOVE Steven Burgen SEVEN STEPS TO JAZZ Charles Fox CAMDENON CAMERA Jak Kllby

JAZZ, IMPROVISED MUSIC A N D . . ...

BEHINDTHE BEAT OF

THE DIFFERENT DRUMMER Skip Laszlo 22 LEO RECORDS Andrew mrner 26 WYNTONMARSALIS Chrissie Murray 28 JOHN STEVENS.. .

SPONTANEOUSMUSIC

CAMDENPORTRAIT

Andrew Turner 30

Jak Kilby 32

GLAA

YOUNG JAZZ MUSICIANS Chrissie Murray 33 SOUNDCHECK- Record Reviews 34 STEVE LACY DISCOGRAPHY 35 ART PEPPER - A Trlbute Chrlssie Murray 37 CAPTION COMPETITION 38

The jazz world has a new magazineand, for the first time in almost ten years, it's British. This fact may come as some surprise to those people who have been heard muttering 'not another new jazz magazine' whenever the imminence of The Wire has been mentioned.

The fact is that, despite the advent of various house journals designed mainly to entice clients into their establishments, and one or two publications devoted mainly to listing events, Britain has had only one jazz magazine for several years -Jazz Journal. Now it has two, and we intend to make our presence felt.

jazz consumptions in Europe, it is poorly served by information, comment and opinion on the subject. This situation has become more pronounced by Melody Maker's recent abandonment of jazz (sorry, Mike Oldfield, but a token eighth-of-a-page of news does not a jazz coverage make).

Meanwhile, the reverend gentlemen at Jazz Journal continue, at best, to admit only grudgingly that jazz hasgot beyond 1948; at worst, deny its current development. Add to this the recent rise in consciousnessof jazz, especially among the under-25s, and the message is clear - a void has developed. A large number of people are being denied information on a subject in which they show undeniable and increasing interest. The Wire is an attempt to help fill that void and, at the same time, extend the message of the music beyond the initiated to the vaguely aware.

Wire'sperimeter will be as wide as is necessary to embrace its stated intentions.

In particular, areas generally known as free jaulimprovised music will be given a loud enough voice to be heard above the dissenters who are still questioning the music's validity. For us, suchquestionswere answered 15 years ago. So, be warned free music will find a sympathetic place in The Wire.

They're our overall intentions. The articles in this first issue really speak for themselves, so no introductionis necessary. We will look forward to all comment and suggestions but, just as important - having read this issue -we will look forward to your subscriptions to the next issue.

WELCOME TO THE WIRE.

Anthony Wood

- Edltor

So, why this new magazine?Quite simply - as a country that has one of the largest

So, what will be the editorial policy of The wire ?

First, The Wire has taken its namefrom a

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zine is dedicated. Lacy-thoughstanding at midpoint in jazz's evolution - has always looked back at the past and forward into the future when shaping his own music.This will broadly be the approach of The Wire.

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I FLUS :.LBY OTHER RZCORDS AED BOmS : Nam*s t ha t a m not 'acknowledged' o r appreciated by

' c on s e r v a t i v e ' and restrictive o u t l e t s . We op.rate a ail order e e r v i c e f o r U . K . & abrmd. P lMae w i t 0 SAB for a f r e e 4 0 p a y c a t a l o gue o r c a l l i n L a e e u s . R E C O I I K ~ D E D RECORDS

Editor:

Anthony Wood

Edltorlal Assistants: LlndenThorp

Adele Jones

Production: ChrPssleMurray Deslgn: Terry Coleman Typesetting: vpeface 01-4602082 Prlntedby: ImagePrlntResources,

587Wandsworth Road, SW83JD 01-7204460

More specifically, The Wire'sbrief will be to cover the field of contemporary jazz and improvisedmusic -the happenings of now with a clear nod at its past greatness and a wink at its possible future. But, more than that, The Wire will attempt to unravel the mysteriesof the music and its musicians for those who, like me 15 years ago, look for fundamental answers about the nature of the music and the musicians makingT.

The Wire'ssub-title has been left deliberately ambiguous to allow for the unexpected. I have never believed in unnecessarv classifications and labels, and The

387 !!andaworth Rmd

London S'.' 8

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