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V. Tilson "October Woman" (London, England)

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Sea Journey
Sea Journey
Price: £0.69

1.0 out of 5 stars This is NOT Sea Journey!, 12 April 2014
This review is from: Sea Journey (MP3 Download)
Definitely not 'Sea Journey', otherwise known as 'Sally's Song'.
This is a jazz standard - can't remember the title but it's a classic. Sounds like somebody at Amazon has uploaded the wrong music!

Introducing Mick Garrett...
Introducing Mick Garrett...
Price: £14.99

5.0 out of 5 stars What's in a name?, 26 Sep 2010
Mick Garrett is a cockney pronunciation to be heard in many a casual utterance. [Michelle Gatwick is another]. Here you have the reality: live performances on Steinway grands to nameless battered uprights, the usual instrument of no choice in pubs and clubs. [1982 - 1990] An affectionate tip of the hat to the perpetrator in the title and you have a beautiful collection of trio recordings from gigs recorded at venues including the National Theatre, the Purcell Room the Royal Festival Hall and the Pizza Express cellar. Yet Garrick is on fine form throughout with long-standing partners in rhythm Dave Green (bass) and Trevor Tomkins (drums) as well as with more recent but equally skilled colleagues Paul Moylan (bass) and Alan Jackson (drums). Working in free-wheeling trio format gives Garrick the chance to excel with his subtle and sympathetic comping skills, as well as take off with rip-roaring solos over a solid backing of substance. There are solo piano gems of standards Out of Nowhere , I Can't Get Started and Prelude to a Kiss with ubiquitous but essential Garrick originals, including Fairies of Oneiros and Prayer. An earth shattering Cherokee completes the selection.

A Lady In Waiting
A Lady In Waiting

5.0 out of 5 stars Garrick's record label debut., 25 Sep 2010
This review is from: A Lady In Waiting (Audio CD)
Currently out-of-print but well worth acquiring second hand, this is the first outing of Garrick's long-standing trio featuring Dave Green on bass and Alan Jackson on drums. The premiere of The Royal Box Suite is given here with six of its tunes as well as Herbie Hancock's Dolphin Dance and Monk's Round Midnight. Sonny Rollins' Oleo is given outrageously brilliant treatment in Garrick's reharmonisation and piano playing. The beautiful Swallows on the Water is a tribute to altoist Joe Harriott, lyrical and harmonically sophisticated with soaring musical phrases representing the `swallows' of Joe and Dizzy Gillespie when they used to play together. The MJQ influence is notable on John Lewis' 2 Degrees East, 3 Degrees West and the trio's love of standards in Tea for Two and Pete Kelly's Blues.

Parting Is Such
Parting Is Such

1 of 1 people found the following review helpful
5.0 out of 5 stars Trio on top form., 25 Sep 2010
This review is from: Parting Is Such (Audio CD)
The third release from Garrick's Jazz Academy label (1995) sees him team up with regulars Dave Green on bass and Alan Jackson on drums. The music focuses on the theme of parting; there are standards (My Funny Valentine and the Beatles' Here, There and Everywhere, the latter featuring Garrick's virtuosic violinist son, Christian), excerpts from The Royal Box Suite (Heir Apparent and Royal Prerogative) and solo piano moments. Garrick pays tribute to Julian Joseph with Brothers of the Bottom Row, a valediction for Bruce Turner, Goodbye Dad, a powerful Premises' Blues and the impressionistic Birdsong at Nightfall. There is a guest appearance from Don Rendell on soprano saxophone for followers of the Rendell/Carr Quintet, which gave Garrick his first big break.

Children Of Time
Children Of Time
Price: £15.25

5.0 out of 5 stars The 'Jazz Planets Suite'., 25 Sep 2010
This review is from: Children Of Time (Audio CD)
This recording could well be subtitled `The Jazz Planets Suite'; it's a virtual space odyssey of gargantuan proportions. The spirits that keep the universe on track and us in check are immortalised in ten gloriously dramatic orchestrations featuring exuberant playing from all the musicians especially Jamie Anderson on tenor, Steve Waterman and Martin Shaw on trumpets and Dominic Ashworth on guitar. Norma Winstone, a long-term Garrick colleague guests on vocals on Spirits of: Form, Compassion and Twilight, Fire, Rotation of Time and Kyriotetes.


5 of 5 people found the following review helpful
5.0 out of 5 stars Promises keeps its word., 25 Sep 2010
This review is from: Promises (Audio CD)
Following hot on the heels of 'October Woman', 'Promises' delivers. It's an eclectic mix of some of Britain's finest musicians as well as musical mirth and mystery. Who else could combine the jaunty Leprechaun Leap and title track Promises, with the sobering twist of Parting is Such and Requiem other than Garrick, who is skilled in bringing all manner of emotions and subject matter to the fore through his music?
Tony Coe is in excellent form on Requiem, with a haunting tenor solo that could defy even the hardest heart. Joe Harriott features on the tender ballad Parting is Such, as does Ian Carr on Merlin the Wizard, ably supported by Garrick on piano, Dave Green and Coleridge Goode on bass and Colin Barnes on drums. A celeste trio distinguishes Song by the Sea.

Peter Pan: Jazzdance Suite
Peter Pan: Jazzdance Suite
Price: £14.99

2 of 2 people found the following review helpful
5.0 out of 5 stars Garrick hits the target with his version of Barrie's classic, 20 Jan 2006
Soon to celebrate his 73rd birthday this year it is perhaps fitting that Britain’s Peter Pan of jazz, Michael Garrick, should portray J.M Barrie’s creation with the musical candour that has kept his career fresh and eclectic for more than thirty years. What Garrick does here is to illustrate Barrie’s characters in vivid musical colours, from a palate of screaming saxophone and rasping trumpets in his menacing portrayal of ‘Hook’ to delicate flute, clarinet and piccolo sweetening the sound in ‘Wendy’ and ‘Tink’.
Garrick’s suite opens with the eponymous Peter Pan, introduced with the composer’s “cock-a-doodle-doo” piano chords and sprightly vocals from Anita Wardell, whilst Quentin Collins’s bright and effusive trumpet captures the essence of Pan: confident, sassy and playful. Mrs Darling is a gently narrated tribute to the lady who is “warm and wise and true … gracious, caring, too”. This piece features a beautiful waltz section that conjures up the image of a debonair lady of the house who carries a secret kiss in the corner of her mouth. Mr Darling contrasts nicely with his partner as the stiff upper-lipped gentleman of the house. The piece is given an edge through Dominic Ashworth’s squealing guitar, as we suspect Mr Darling considers the kiss he could never get from his wife and eventually gave up trying for. Garrick portrays Wendy as gentle, playful and pretty using the brass section to underscore her freedom with a sense of sobriety and sensibility, whilst Wardell beautifully captures Wendy on the cusp of young adulthood. A chorus of male voices begins The Lost Boys, conjuring up a shady image with the bass and drums in tow. The addition of Martin Hathaway and Bob McKay’s haunting clarinet duet lends an eerie feel to the piece. Musical proceedings become distinctly tribal with Jackson’s pounding tom tom work over a dour brass section. Tink, Peter’s fairy sidekick is ushered in with an unpredictable Garrick piano solo in collaboration with Wardell’s soft vocals. A lightning quick piccolo follows with the pattering of a brushed snare, taunting “catch me if you can!” and encapsulating Tink’s mischievous beauty. By the time we get to Hook we have experienced a diverse range of sound portraits, but nothing could prepare us for this, the most chilling depiction in Garrick’s masterpiece. Powerful narration from Garrick, coupled with Jamie Anderson’s tenor explores the persona of the horrific Hook with the latter wailing like a tortured soul. The Trees invites us into the safe and friendly home of the Lost Boys with Hathaway’s soprano sax and McKay’s flute portraying “an oasis of family regularity and comfort” where boys can be boys and ‘mother’ Wendy tends their needs. “Tick-tock” resonates the woodblock as the Crocodile approaches. Mark d’Silva’s incessant trombone takes the lead as it symbolically pursues the ultimate meal-ticket, whilst the sinister reeds illustrate Crocodile as dastardly and machiavellian. Neverland, “a place of dream … just behind your mind, near at hand” coaxes Wardell before the image of a magical distant land, intoxicating, foreign and other-worldly is created. Neverland - so near yet so far…
Garrick’s skilful orchestration fleshes out this suite sensitively, ensuring his work faithfully pays tribute to Barrie’s powerful allegory of growing up. If we feel shackled by the chains of adulthood and responsibility, Garrick’s poetic lyrics remind us of “whose heart’s beating faster to fly away? It’s yours”. A potent wake-up call, perfectly expressed through the language of music - the music of jazz.

October Woman
October Woman
Price: £16.58

16 of 16 people found the following review helpful
5.0 out of 5 stars Garrick's debut still breathtaking after 40 years, 20 Jan 2006
This review is from: October Woman (Audio CD)
October Woman was the debut album of British jazz composer/pianist Michael Garrick in 1964. Its long overdue reissue promises to inspire a new generation of jazzers (and reassure existing ones) that British jazz is indeed a mighty force.
Ten compositions of beauty, simplicity and originality. Seven Pillars begins proceedings; a driving waltz- time piece featuring Shake Keane audaciously changing his trumpet sound in mid-solo, with Garrick’s comping subtly sublime and sensitive. In Little Girl, Harriott is beautifully evocative with unusually dulcet tones. Keane’s playful muted trumpet solo and Harriott’s soaring alto lines set the scene in Sweet & Sugary Candy, followed by a good-humoured bowed solo from Coleridge Goode. Blue Scene evokes the soul movement of the 1950s and is rhythmically delightful. Colin Barnes’ drumming in particular is sharp and percussive, complemented by strong, bluesy piano chords and a pulsating bass line from Goode. Anthem begins majestically with Keane’s trumpet and Harriott’s alto in canon, before they joust with each other in freeform. The rhythm section maintains the hypnotic 5/4 time throughout. Return of an Angel is ushered in with Garrick’s sombre piano head in parallel fifths, one of three pieces on this album to use only rhythm section as a trio. Sketches of Israel uses muted trumpet to great effect, in a light, rapid moving playful piece, especially towards the end when trumpet and piano trade fours in mimicry of each other. The eponymous October Woman follows, portrayed by Keane’s soulful trumpet and augmented by Garrick’s sparse piano chords. Echoes sees Harriott take the lead with a Parker-esque solo followed by the dextrous lines of Garrick. Finally, the gentle, waltzing Fairies of Oneiros begins with Garrick’s beautiful melodic head, his ensuing solo in full imaginative flow faithfully supported by Goode and Barnes’ gently driving cymbals and brushed snare.

There is the added bonus on this album of Garrick’s Anthem EP, which presents Wedding Hymn as a sacred music offering complete with pipe organ and swing section, followed by Anthem, again showcasing organ, a full choir and Harriott and Keane in superb freeform mode. Who else, apart from Ellington, has ever spliced church music with jazz to such great effect? And Garrick’s recording pre-dated Duke’s first sacred concert by six months.
October Woman is also a timeless reminder of just how good an altoist Joe Harriott was; a close equal to Parker. Albums of such outstanding beauty are rare indeed. Buy now and get acquainted with your heritage.

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