Afternoon gigs - they're the way forward. Two of the UK's most endearing (and enduring) jazz musicians were playing Nottingham's intimate & acclaimed jazz club Peggy's Skylight on Saturday. However, in addition to their main set, the club decided, due to strong ticket sales, to also put them on for an hour, matinee style, at around six and bill it as a Twilight Show. Way to go, Peggy's.
So, with a Negroni in my hand and Claire Martin all but sitting in my lap (so close are the tables to the stage) the trio (Adam King on bass nearly stole the show) played a mesmerising set and the hour absolutely flew by. Jim Mullen has been playing with Claire since her first album was released some thirty plus years ago and was in the form of his life. Out of total respect for the band I left my camera in my bag, so no pics I'm afraid. And if you want to know just how good they were - have a butcher's at this: - taken from a little session Claire & Jim did for Jazz FM a couple of years back.
Claire Martin & Jim Mullen - Close Enough for Love (2017)
Claire Martin has been delighting jazz audiences for over twenty years. Her sideboard must be creaking under the weight of all the trinkets she's won in that time, not least the six Best Vocalist awards bagged at the prestigious annual Jazz Awards. Backed by an an impressive back catalogue, her distinctive delivery and superb choice of material have kept her at the forefront of the jazz scene on both sides of the Atlantic. Claire also presents Jazz Line Up on Radio 3 where she gets to play her favourite records and meet her idols.
Claire took the time earlier this week to answer a few probing questions:
I remember seeing you at a jazz club in Sheffield one Sunday lunchtime
around the time your first album, The Waiting Game, was released; but
where and when was your first paid engagement?
'Blimey, that was a long time ago! I guess my first real paid gig was when I
turned professional at the age of nineteen and sang with the house band in a hotel
in Bournemouth called The Savoy. Sadly not half as glam as The Savoy in London! I worked 6 nights for £150 a week, £50
of that went on rent!'
Jim Mullen was in your band that day – as he has been for a long time. You and Jim work really well together. Any plans to record an album
with just the two of you?
'I keep thinking that we must do a duet album. As you know, Jim is a master
musician and would be marvellous in this setting. One day it will
happen...!
Claire Martin with Jim Mullen - Gettin' High (1998)
You've been with your record company, Linn, right from the get go.
What's so good about them?
'Linn are incredibly supportive in many ways and most importantly they give me
full artistic control. They pride themselves on the sound quality
of all their records and have never said no to any of my mad ideas
over the years. They are small but perfectly formed and have
recently gained much more distribution worldwide.'
You recorded Help! with Noel Gallagher on guitar: was he the perfect
gentleman? And what do you look for in a song that makes you want to
record it?
Paul Stacey the producer of the Perfect Alibi album was working with
Oasis at the time and told me about Noel playing Help! as a slow
song at his gigs. I was intrigued to give it a go and was really
thrilled that Noel agreed to do the session. However, on my way to
the studio I got caught up in the most horrific traffic jam in
Brixton and JUST as I arrived he had left. He did leave me a plectrum though and apparently said "give this to the
girl singer". Song lyrics reach me first, but I am listening for good harmony and form
too. Sometimes great jazz tunes are over too quickly, so I like a
bit more structure.
Claire Martin - Help! (1999)
You're a Brighton Bird these days: can you see the sea from where you live?
'I used to be able to from my old house if I hung my head out of the very top
window and looked right! Oblique views I think is the term! Now I
am up by the Sussex Downs which are more green than blue. I love
Brighton and it’s the best move I ever made.'
Do you like touring? How many gigs do you clock up a year?
'If the tour is well planned and not too gruelling then, yes, being on the road
can be fun. Since I became a mum I’m less likely to agree to
longer than a week on the road at a time. I did take my daughter to
New York last year as the engagement was for 3 weeks. It’s a
privilege to be a musician and a joy to do something that you love,
but most musicians would agree that the travel aspect is a killer.
Only a few weeks ago I drove 7 hours to get to the gig as traffic
was horrendous on the M25. To get to a gig north of London on a
Friday, it’s best to set off after breakfast! Ideally I’d like
to do 4-6 gigs a month, sometimes that happens but other times it’s
either feast or famine. This week I'm doing 5 gigs but the week
after I’m doing none at all.'
What's it like working at the BBC?
'This is a dream gig for me and has saved my bacon over the last thirteen years.
I’ve met and interviewed some of my heroes (Brecker, Metheny,
Previn) and have been able to keep my finger on the pulse of the jazz
scene easily as I’m sent so much new material, magazines, special
invites etc. It’s a joy and I’m really really lucky to be part
of the Radio 3 family.'
Have you got a favourite jazz club?
'Yes, the 606 club in Chelsea. Many a night has been spent watching world
class music, hanging with my mates and eating great food. Steve
Rubie the owner is a legend. I’ve been most proud of the charity
events we have put on their thanks to Steve. We have raised
thousands through the generosity of the club members. A GREAT JAZZ
CLUB.'
You've won many many awards over the years. Which one would you run
into a burning building to rescue?
'I’m still in shock that I received an OBE for my services to jazz in
2011. Especially when there are people like Steve Rubie out there.
I thought at first it was a hoax! I took my mum and dad to the Palace and we had a terrific day out and a very boozy lunch in Soho
afterwards with my husband and brother. I guess I’d run back in
for my medal just so I could prove it was true!'
Who
do you most admire as an artist and which album could you not live
without?
'That’s tough! I have so much admiration for so many jazz singers – all
for different reasons. I’d have to say that Carmen McRae is my
number one. Her artistry is second to none and I’m still learning
every time I listen to her, she is an inspiration. The album
‘Bittersweet’ is as good as it gets.'
And finally...
Sinatra or Bennett?
'Sinatra - just'
Liquorice Allsorts or Jelly Babies?
'Jelly Babies - no contest!'
Indian food or Italian?
'Indian - had killer curry last night'
Beer or wine?
'WINE!!!!!!!!!!! (red)'
Cinema or DVD Box Set?
'Cinema - life's too short for box sets'
Thank you Claire.
Surrey born Dick Morrissey's place among the jazz hierarchy was assured even before he discovered jazz fusion & funk in the late 60s /early 70s with If and Morrissey-Mullen. In 1961 and barely out of his teens Morrissey, a self taught sax and flute player, cut his first solo album It's Morrissey Man; though it never set the jazz world alight he nevertheless spent the majority of the decade carving out a lucrative living on the London jazz circuit - tearing up venues like Ronnie Scott's, The Marquee and 100 Club. With pianist Harry South and any number of bass players and drummers he spearheaded a formidable quartet while at the same time regularly cleaning up Melody Maker's annual awards.
In 1968 he joined forces with guitarist Terry Smith and formed If - a groundbreaking jazz fusion outfit who from their base in Sweden over a six year period released four critically acclaimed albums. But they called it a day in 1974 and Morrissey moved back to London and formed a cracking little trio with organist Mike Carr. It was around this time that he met Scottish guitarist Jim Mullen. He and Mullen then went to America to play and record with The Average White Band who at that time were enjoying massive global success. And so Morrissey-Mullen was born. They went on to record many revered jazz-funk and soul albums, mostly on the Beggars Banquet label, and they weren't averse to putting out 12" singles either - many of their cuts were crossing over to European dance-floors. Over a career that spanned fifteen years they became festival favourites but realised they'd taken their sound as far as they could.
Dick returned to his roots and straight ahead jazz. He would continue to play until his untimely death in 2000 aged just 60. The plaudits he received during his lifetime and beyond are too numerous to list here. However, his obituary in The Daily Telegraph summed him up perfectly: 'He possessed the remarkable knack of making everything he played sound not only exciting but happy.'
Here he is boldly going where no tenor sax has gone before:
