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home blog about us artists past concerts services store contact sponsors & links r.i.p spirit of jazz partenaire du colloque musique et pouvoir à l'université de bourgogne concert de ricky ford, darryl hall, jason marsalis avec le soutien de l'ambassade des etats-unis d'amérique table ronde sur le thème "jazz, musiques actuelles et institutions en france" , animée par jean szlamowicz avec ricky ford (saxophoniste, directeur du festival de toucy), yves sportis (rédacteur en chef de jazz hot ), ludovic florin (université de toulouse jean-jaurès), xavier felgeyrolles (space time records ; jazz en tête). interventions sur le jazz en pologne, le jazz durant la guerre froide, etc. pour le programme complet : site de l'université de bourgogne infos pratiques: ici normal 0 21 false false false fr x-none x-none tk blue at the sunside in paris, 25th nov. 2017. feat. olivier hutman, nicola sabato, john betsch. talib kibwe. amour (dot time records) freshness. honesty. inspiration. that’s all it takes in terms of aesthetic doctrine. t.k. demonstrates with his latest album that jazz can be kept alive without resorting to dubious recipes in synch with the taste of the pop merchants. born in new york in 1953, of jamaican and trinidadian descent, he learnt music with billy mitchell, jimmy heath and other harlem jazzmobile teachers such as frank foster, thad jones, ernie wilkins and billy taylor. this account for being steeped in the deepest jazz tradition. among his first major gigs, playing with jaki byard, sam rivers, chico hamilton, dollar brand (abdullah ibrahim) whose band comprised carlos ward, hamiett bluiett, roy brooks, john betsch and johnny dyani, probably accounts for the extent of his stylistic openness. unsurprisingly, his avid personality led him to play in a great variety of contexts. he went on to play with the daoud-davis williams’ spirit of life ensemble and never ceased to record and tour with randy weston. his initiatives as a leader or co-leader with james weidman, onaje allan gumbs, santi debriano, guillherme franco, jayne cortez have all proved immensely original. a very idiosyncratic player, t.k. blues displays the influence of roland kirk, yusef lateef, as well as well-rounded bebop phrasing and a tone reminiscent of bobby watson on alto. this album is an accomplished example of jazz invention. whether tackling the classic medium blues (“dream time” with some funky grooves thrown in) or a delightful jazz waltz (“parisian memoir”), he always manages to conjure arrangements that are complex and easy-flowing at the same time. the randy weston influence is obvious (“hi-fly”) but the african, brazilian, cuban touches, so prominent here, were always part of t.k’s own music. not only do the latin and african influences stand out, but they’re soaked in swing and blues, with a constant melodic tenderness that is reflected in the title. his latin reading of “infant eyes” on soprano is a gem. it is not easy to be consistent when one mixes influences. it takes a tremendous personality to make them meaningful. t.k. blue does that but also showcases the huge creative potential of all the jazz genres, exploring them with mastery and excitement on all his horns and bringing together beautiful musicians who all contribute to the lively poetry of this unique recording. titles. banlieue blue; infant eyes; parisian memoir; a single tear of remembrance; resolution; dream time; 204; abdoulaye; requiem for a loved 1; petite fleur; elvin elpus personnel. t.k. blue (as, ss, fl) + warren wolf (p, vib), jeff reed (b), eric kennedy (dm), roland guerrero (perc.); zaccai curtis (), essiet essiet (b), winard harper (dm), grégoire maret (hca), etienne charles (tp) recorded in may 2016, dot time records www.dottimerecords.com tom mc clung pianist tom mcclung died during the night between saturday 13rd and sunday 14th may 2017. his passing is not something that feels natural. he was so deeply rooted in the french scene that his demise is hardly believable at all. i’m afraid my first thought when i am going to need a pianist will still be to call him. unfortunately, there will be no answer. tom always answered. he was always ready to play. i had first heard him in the late 1990s at le relais de l’isle, a very small restaurant on the ile st louis in paris, run by christophe lepelletier. after the regular hours he would continue to swing on that white upright piano, always ready to play if someone sat in. next door, he often played at the franc pinot, run by jean-marc verbois, with hal singer, bob demeo, joe lee wilson… with jérôme partage, i have been so fortunate to organise concerts where he shone so brightly : a duet at the eglise de bon secours with ténor saxophonist jean-jacques elangué ; a trio with andy mckee on bass and john betsch on drums at the sorbonne ; a quartet with ted curson on trumpet, nicola sabato on bass and john betsch in the gardens of the 11 e arrondissement ; a memorable private concert at the us embassy in paris with ted, peter giron and doug sides. tom with doug sides (dm) and peter giron at the us embassy in 2008. with jean-jacques elangué (ts) at eglise du bon secours, oct. 2013. in 2010, in sarcelles, he took part in a concert led by bassist wayne dockery with john betsch on drums dedicated to the music of mccoy tyner. with very little rehearsal time, he turned in an incredible performance, letting his incredibly sprightly inspiration speak for him. the climax for me was undeniably the night he played at the improviste, a boat in paris in july 2014, with ricky ford, peter giron and doug sides. the music was wild and fiery. he was really smoking that night, in the full embrace of the music he was creating collectively. sadly, these « bright moments » went undocumented. fortunately, his concert with ted curson and ricky ford at the sorbonne was recorded. i remember he had just flown in from a tour and had joined the band effortlessly, delivering some magnificent solos and beautiful comping. you can hear his superb contribution on ted curson plays the music of charles mingus, live in paris (2008). tom with the spirit of life ensemble; feat. joe lee wilson (voc), rob henke (tp) and ray blue (ts), april 2008 tom was a driving force on the paris scene. he constantly sat in with the spirit of life ensemble when they were in town. he had a band with ronald baker and nicola sabato playing the music of frank sinatra ; and also beautiful trio with mourad benhammou and mathias szandai… he played alongside archie shepp for many years and also with marion brown, yusef lateef, gildas scouarnec and steve mccraven. before his time in paris, he had played with thomas chapin, attila zoller, ray copeland, jimmy knepper, benny waters, al cohn, arthur blythe… obviously, tom simply soaked in all that, building his own jazz vocabulary. he has so much music in him. my feeling was that he had reached a point where he had his own musical world, a fascinating balance between straight and quirky lines. he reminded me of kirk lightey in that respect, of mal waldron and monk too, and kenny barron and john hicks. his world was very diverse. swing with enigmatic angles and blues undertones—even when he played classical music. he was always extremely musical in his playing and he never let formalism get in the way—his musical intelligence remained based on an emotional approach. big-hearted and soulful, his music was witty and full of unexpected twists and turns. a stylistic oddity, he generously spiced up his expression with unpredictable phrases. there was always something happening when he played. born in 1957 in new york, tom mcclung had spent his childhood in amherst, massachussets and no doubt you will read his complete obituary in jazz hot , with a list of all his accomplishments. but what i remember is of course the most elusive part of the man, the one that can never get written down—his demeanour, his façon d’être , his dry humour, his quiet charm, his gentle smile
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