David Sanborn, jazz saxophonist known for work with David Bowie and more, dies aged 78

Musician who played sax solo on Young Americans and released a series of Grammy-winning albums dies from prostate cancer

David Sanborn, the Grammy-winning saxophonist whose expressive versatility across jazz and pop also made him a sought-after session player for tracks such as David Bowie’s Young Americans, has died aged 78.

A message on social media stated he died from “an extended battle with prostate cancer with complications. Mr Sanborn had been dealing with prostate cancer since 2018, but had been able to maintain his normal schedule of concerts until just recently. Indeed he already had concerts scheduled into 2025.”

Continue reading...

Mobo awards 2024: Central Cee tops winners thanks to megahit Sprinter

London MC wins best male and song of the year, while Potter Payper beats stiff competition to win album of the year

Central Cee has topped the winners at the 2024 Mobo awards, winning best male for the second year in a row, and best song for Sprinter, his collaborative track with Dave, that dominated the summer months with a 10-week run at No 1.

Elsewhere the awards, which celebrate black musical artistry in the UK and globally, spread the garlands across a diverse range of music, with no one artist dominating.

Continue reading...

Carla Bley, imaginative jazz pianist and composer, dies aged 87

Musician’s work spanned the mainstream and avant-garde, including in fusions with the world of rock

Carla Bley, the American jazz composer-pianist celebrated for boldly avant-garde work as well as her uplifting and beautiful takes on the genre’s mainstream, has died aged 87.

Her death was announced by longtime partner and musical collaborator Steve Swallow, who said the cause was complications from brain cancer.

Continue reading...

Mercury prize 2023: London group Ezra Collective secure first ever jazz win

Band say unexpected win is ‘testimony to good, special people putting time and effort’ into helping young people to play music

The 2023 Mercury prize has been awarded to Ezra Collective, the London band whose propulsive blend of jazz, funk and Afrobeat has electrified audiences and cemented the capital’s jazz scene as one of the world’s most exciting.

“We met in a youth club,” said drummer and bandleader Femi Koleoso on accepting the award for the year’s best British or Irish album for Where I’m Meant to Be, the band’s second release. “This moment we’re celebrating right here is testimony to good, special people putting time and effort into [helping] young people to play music … let’s continue to support that,” he added, citing grassroots collectives in London such as Tomorrow’s Warriors and Kinetika Bloco.

Continue reading...

‘Do we want music to be a pursuit only of the wealthy?’ Anger grows at PRS Foundation cuts

Royalties company PRS for Music has announced a major funding cut for its charitable arm. Artists such as Black Country, New Road explain why it could damage the UK music scene

One of the UK’s biggest funders of new and emerging music, responsible for fostering the careers of artists including Sam Fender, Little Simz and 2021 Mercury prize winner Arlo Parks, has this week seen its budget slashed by 60%.

The PRS Foundation, which funds hundreds of aspiring artists and music organisations across the country – including a number of artists from groups underrepresented in the music industry – announced on Wednesday that its income would be cut from £2.75m to £1m from 2024 onwards, citing financial necessity. The decision was taken by its parent company and primary funder PRS for Music, which collects royalties for musicians when their music is streamed or played in public.

Continue reading...

New Orleans rescinds little-known century-old ban on jazz in schools

School board ditches policy ‘rooted in racism’ that was widely ignored in practice

The New Orleans school board has unanimously reversed a little known but century-old ban on jazz in schools in a city which played a huge role in developing jazz and where it is still played nightly at various venues.

“I’m very glad that we can rescind this policy. I want to acknowledge it. It was rooted in racism,” the Orleans parish school board president, Olin Parker, said during the meeting on Thursday night. “And I also want to acknowledge the tremendous contributions of our students and especially of our band directors, whose legacy continues from 1922 through present day.”

Continue reading...

Jazz ‘genius’ Cécile McLorin Salvant: ‘In periods of loneliness and fear, it’s instinctual to want to talk about love’

Fresh from receiving a MacArthur Foundation grant – and releasing an album inspired by Kate Bush and ghostly folk – the daring singer is already absorbed in the next challenge

In 2020, Cécile McLorin Salvant kept getting calls from an unknown number. Like any self-respecting millennial, she ignored them. “They called me so many times and I didn’t answer because no one answers a number that they don’t know,” she says, speaking by Zoom from her New York apartment.

When she finally picked up the phone, she “freaked out”. It was the MacArthur Foundation calling to tell her she had been chosen as one of its fellows, an honour that comes with a grant of $625,000 (£475,000) paid over five years. Given that Covid-19 meant her tour had been cancelled, it couldn’t have come at a better time. “It felt like a validation that went beyond music,” says the 32-year-old musician. “It felt like a validation of the way that I think. That’s a huge compliment. It’s the greatest honour.”

Continue reading...

Jazz, Old Norse and ‘troll tunes’: the strange, stunning music of Shetland

It’s 550 years since the islands became part of Scotland, and the archipelago is still not for the faint-hearted. But it has inspired its own diverse music, where fiddles and accordions meet the sub-bass of the sea

Five hundred and fifty years ago next month, the king of Norway lost a deposit he had put down to settle a debt: more than a hundred wild, treeless islands in the sub-arctic North Sea. The Scottish king, James III, had wanted Rhenish florins, but he had to settle for Shetland instead.

The archipelago eventually became part of the UK and has since developed a diverse, distinctive musical culture. This weekend, at the annual Celtic Connections festival in Glasgow, the Shetland 550 concerts will celebrate it, bringing together experimental composers, jazz performers, poets and players of traditional tunes. The series is co-curated by the award-winning fiddler Chris Stout, who was born in the three-mile-long Fair Isle (population: 68) before moving to the Mainland at eight (population: 18,765). “Although, even there, you’re still only ever three miles from the sea,” he says.

Continue reading...

‘Society was volatile. That spirit was in our music’: how Japan created its own jazz

Postwar Japan embraced the music of its former enemy – and, powered by anti-establishment feeling, remade it. As they find a new global audience, the country’s jazz innovators explain what drove them

The story of Japanese jazz is about music and a movement, but also a nation’s state of mind – a daring vision of a better future after the second world war, sounded out on piano, drums and brass. Jazz is a distinctly American art form – the US’s greatest cultural achievement, in fact, along with hip-hop – and a healthy scene had formed in the 1920s and 30s as American players toured the clubs of Tokyo, Kobe and Osaka. But Japan had historically been an insular nation – its policy of sakoku, which for more than two centuries severely limited contact with the outside world, had only ended in the 1850s – and an increasingly nationalist government, feeling jazz diluted Japanese culture, began to crack down. By the second world war, “the music of the enemy” was outlawed.

After the country’s surrender, occupying forces oversaw sweeping reforms. American troops brought jazz records with them; Japanese musicians picked up work entertaining the troops. There was a proliferation of jazz kissa (cafes), a distinctly Japanese phenomenon where locals could sit and listen to records for as long as they wanted. For some, jazz was the sound of modernity.

Continue reading...

Jazz star Charles Lloyd: ‘Miles Davis wanted all the girls and money’

He played gigs to a young Elvis, got high with the Grateful Dead and made an enemy in Miles Davis. And, at 83, the saxophonist who collided jazz and rock still has his spirit of adventure

“We played the Royal Albert Hall in 1964,” says Charles Lloyd, recollecting his first ever UK performance. “Packed it to the rafters.” He was 26, playing tenor saxophone in Cannonball Adderley’s majestic band and getting his first taste of a world beyond US jazz and blues clubs. “I’m looking forward to returning,” says Lloyd of this weekend’s appearance at the EFG London jazz festival.

Now 83, he speaks in a drawl that mixes jazz argot and spiritual entreaties – he says he spent the pandemic “building steps”, meaning to a higher plane rather than a DIY project – and is raring to re-engage with an audience. “I’ve been playing in front of audiences since I was nine. Been a professional musician since I was 12. It’s what I do.”

Continue reading...

On my radar: Damon Albarn’s cultural highlights

The musician and composer on a magical performance by Udo Kier, a west African drumming app and where to find a taste of Palestine

Damon Albarn was born in east London in 1968. Interested in music from a young age, he studied at East 15 Acting School and then Goldsmiths, where he co-founded the band that helped kick off Britpop. As well as recording eight studio albums with Blur, Albarn also co-created Gorillaz and the Good, the Bad & the Queen, spearheaded the collaborative organisation Africa Express and has scored stage productions including Monkey: Journey to the West and Dr Dee. He lives in Notting Hill, west London, with his partner, Suzi Winstanley. On 12 November, Albarn releases his second solo album The Nearer the Fountain, More Pure the Stream Flows on Transgressive Records.

Continue reading...

‘I’ve been dead so many times’: the life and times of New Orleans’s blues king

Little Freddie King has survived three shootings, stabbings, a near fatal bike accident, a stomach ulcer, an accidental electrocution, Hurricane Katrina, and now a pandemic

In a dark, wood-panelled room, thick with humidity and reeking of smoke, the bluesman sits on a battered red couch that droops in the middle. He takes a moment to reflect before walking to the stage. He’s dressed in a pair of shades, a straw fedora, and a technicolor suit jacket splashed with turquoise, pink and peach. His flamboyance is an instant contrast with the dingy surroundings. He takes a final drag of a cigarette, down to the butt, before adjusting his tie.

Little Freddie King has played this venue – BJ’s Lounge, a ramshackle bar in the Bywater neighbourhood of New Orleans – for the past 27 years. But tonight is special. Tonight is his 81st birthday.

Continue reading...

Louis Armstrong and the spy: how the CIA used him as a ‘trojan horse’ in Congo

Book reveals how the jazz musician unwittingly became party to secret cold war manoeuvres by the US in Africa

It was a memorable evening: Louis Armstrong, his wife and a diplomat from the US embassy were out for dinner in a restaurant in what was still Léopoldville, capital of the newly independent Congo.

The trumpeter, singer and band leader, nicknamed Satchmo as a child, was in the middle of a tour of Africa that would stretch over months, organised and sponsored by the State Department in a bid to improve the image of the US in dozens of countries which had just won freedom from colonial regimes.

Continue reading...

‘Not just a drummer – a genre’: Stewart Copeland and Max Weinberg on Charlie Watts

The Police and Bruce Springsteen drummers share memories of their late Rolling Stones counterpart, explaining his technical brilliance, his verve – and his clothes-folding skills

I’m an early-period Stones fan, and not so much because of losing interest in them, but because when you’re 16, music is 100 times more important – and the Rolling Stones were right there when I was 16. Humans are sort of like ducks. A duck comes out of the shell, the first warm thing it sees is mama; for adolescent teenage humans, the first raucous sound of rebellion, that’s daddy. And in my generation, that sound was the Stones.

Continue reading...

Charlie Watts: a rock’n’roll legend whose true love was jazz

He may have backed the world’s most successful rock band, but the late drummer worshipped his jazz heroes through big bands and other projects

Everyone knew that Charlie Watts’s heart was always in jazz. Even when he grew his hair long and put on hippie garb while the Rolling Stones were going through their Satanic Majesties period, underneath he was still the cool bebopper who could see through the nonsense that surrounded his group and the rampaging egos at its heart.

Wisely, he never let his true musical allegiance show in his playing with the Stones. When they recruited him from Alexis Korner’s Blues Incorporated in January 1963, not long after he’d been serving an apprenticeship with trad jazz bands, he listened to the records of Jimmy Reed, Howlin’ Wolf and Muddy Waters in order to absorb the way that master Chicago blues drummers such as Earl Phillips, Fred Below and Elgin Evans kept things simple, soon appreciating that simplicity is often the hardest thing of all to achieve.

Continue reading...

Charlie Watts: the calm, brilliant eye of the Rolling Stones’ rock’n’roll storm

Unruffled amid excess, personality clashes and musical disputes, the Rolling Stones’ exceptional drummer used technique to deepen the meaning and power of their songs

By any standards, Charlie Watts was an unlikely candidate for rock stardom.

He was quiet, drily funny and unfailingly modest, characteristics theoretically better suited to his initial profession as a graphic designer than the scream-rent world of 60s pop. Furthermore, by his own admission, he didn’t particularly care for rock’n’roll (“I didn’t know anything about it … I used to hate Elvis Presley. Miles Davis – that’s what I considered someone,” he told an interviewer in 1993) and had initially had to have the rhythm and blues so beloved of his bandmates explained to him: “I didn’t know what it was. I thought it meant Charlie Parker, played slow”.

Continue reading...

Thomas Quasthoff: ‘From birth, my mum felt guilty. I had to show her I made the best of my life’

Born disabled due to the effects of Thalidomide, the exuberant star rose to classical music’s pinnacle – then quit at the peak of his powers. Now he’s back – singing jazz

Thomas Quasthoff has been retired from classical music for nearly a decade now. The German bass-baritone was in his early 50s when he made the shock announcement – an age when singers of his type are still in their prime. His elder brother Michael had been diagnosed with lung cancer in 2010, and that diagnosis and his brother’s subsequent death had left Quasthoff temporarily physically incapable of singing.


“Three days after being told that my brother would not live longer than nine months I lost my voice,” he recalls. “Doctors looked at my throat and said: ‘Everything is fine.’ But my heart was broken, and if the heart is broken ...” he pauses. “The voice is the mirror of the soul.”


Continue reading...

Amy Winehouse’s 20 greatest songs – ranked!

With the 10th anniversary of her death this week, rediscover the best of Winehouse’s discography, where heartbreak and anger are mixed up with wit and joy

After all its emotional strife, the Back to Black album concludes with a jokey paean to weed. You could construct an argument that Addicted is Winehouse once more tapping into a venerable jazz tradition – it’s easy to imagine Fats Waller singing about someone snaffling his stash in the 30s – but perhaps it’s better to just enjoy its mordant wit.

Continue reading...

Stevie, Gladys, Nina … Summer of Soul uncovers a festival greater than Woodstock

As the US boiled with violence, 1969’s Harlem cultural festival nourished spirits with soul, jazz and gospel. Now, Questlove has turned lost footage of it into a brilliant, pertinent documentary

It’s 29 June 1969, and at Harlem’s Mount Morris park (now Marcus Garvey park), the 5th Dimension are about to take the stage. The Los Angeles group are already stars, thanks to hits including Up, Up and Away and Aquarius, from the musical Hair, which topped the Billboard charts that spring. But their pop-oriented repertoire, often penned by white songwriters, has kept them off the US’s R&B radio stations and thus from Black audiences. “We’d tried to separate ourselves from the segregation in our society, but we still got caught up in all that,” remembers the group’s founding singer, Billy Davis Jr, today. “And the average Black family didn’t earn enough to come see us at the nightclubs we were playing. They’d seen us on TV, but they’d never seen us live.”

That was about to change with their headline performance on the opening day of the Harlem cultural festival. A series of six Sunday concerts that summer, the festival showcased the cream of the era’s soul, gospel, blues and jazz artists before an audience of 300,000, many from the surrounding neighbourhoods. “I looked out and saw a sea of faces, and their response was so loving, so welcoming and exciting,” says Davis Jr’s wife and bandmate, Marilyn McCoo, for whom the festival remains a treasured memory. She’s not alone. Harlemite Musa Jackson, then just a five-year-old, still remembers how the 5th Dimension’s orange costumes, gleaming in the sun, made them look “like Creamsicles”.

Continue reading...