Scottish Jazz

Scotland has produced world class jazz musicians throughout jazz’s history. Glasgow-born trombonist George Chisholm recorded with Fats Waller in the 1930s and Ayrshire trumpeter Tommy McQuater worked with Benny Carter around the same time. Saxophone and rhythm sections in the big band era were liberally staffed with Scots, often playing arrangements by the apparently indefatigable – to this day - Tommy Sampson from Newhaven.

Dundonian Jimmy Deuchar’s trumpet playing, composing and arranging abilities were appreciated on both sides of the Atlantic from the 1950s onwards. Bobby Wellins, a genuinely original voice on tenor saxophone from Glasgow, lent his distinctive tone to one of the defining albums of British jazz, Stan Tracey’s Under Milk Wood, in the 1960s and remains an inspiration. And those approaching the baritone saxophonist in the Lincoln Centre Jazz Orchestra, one of the world’s finest, may be surprised to learn that the masterful Joe Temperley first picked up a saxophone, not in New York, but in Lochgelly, in the kingdom of Fife.

This list is by no means exhaustive. Any survey of Scotland’s contribution to jazz would have to include clarinettist and wit Sandy Brown and guitarist Jim Mullen, both completely individual musicians of world standing, and the supply lines continue with younger heroes such as saxophonist Tommy Smith and pianist Brian Kellock.

Why a small country on the western edge of Europe should incubate such riches in a music that is American by origin, although it long ago became a worldwide art form, is fascinating but perhaps easily explained.

Scottish musical traditions run deep. Bagpipes and the voice have been used to carry news, entertain, convey sadness, celebrate and inspire for centuries. So Scots have an inherited desire to express themselves through music. Call this the church and the blues, both important strains of jazz. Add the Scots’ predilection for creativity and invention, from the pneumatic tyre to television, adhesive postage stamps to Tarmacadam, and a willingness to apply themselves, and you have perfect credentials for jazz students.

A musician needs to play and many of Scotland’s jazz musicians, from different eras, learned their craft in busy Scottish country dance bands. Richard Michael, who for thirty years and counting has overseen the development of countless graduates from the Fife Youth Jazz Orchestra, is one example. Other musicians learned the discipline required for jazz through brass bands, whether of the Salvation Army persuasion or the many thriving in the mining areas of Ayrshire and Fife.

All of these qualities and experiences conspired to produce the foundations for Scottish jazz today, a music that reflects the Scottish character traits of openness, hospitality, gregariousness, humour and reflectiveness. It’s a music that, with internationally renowned artists such as guitarist Martin Taylor basing themselves here, has also grown stronger as musicians no longer feel obliged to move away to prove and improve themselves.

Free to develop in their own environment, where there has been an easy interconnection between jazz and traditional musicians, some players have fashioned a distinctively Scottish-accented form of jazz. Trumpeter Colin Steele’s mighty Stramash, pianist David Milligan’s brilliantly fluid trio and guitarist Graeme Stephen’s marvellously ambitious sextet are just three groups where the rolls and Scotch snap from traditional music have become natural components of the jazz language.
A key feature of the Scottish jazz scene today, however, is the variety of styles that co-exist. From the Django Reinhardt-inspired, self-descriptive Swing 2008 to the sonic sculptures and tough improvisations of Trianglehead and the wilfully creative, sheer exuberance of Trio AAB is journey of many musical miles.

Moishe’s Bagel have looked to Europe – specifically the Eastern European klezmer tradition – for inspiration with conspicuous success. Saxophonists Tommy Smith and Laura Macdonald have forged hugely productive partnerships with European musicians, Smith in his trio with Norwegian bassist Arild Andersen and Scots drumming powerhouse Alyn Cosker, Macdonald in a quartet with Swedish drummer Martina Almgren.

America remains an important source of inspiration, of course. Brian Kellock, whose solos can encapsulate virtually the entire history of jazz piano, works profitably with New York rhythm team Chris Lightcap and Matt Wilson. Bassist Aidan
O'Donnell and harpist Maeve Gilchrist have established themselves in the Big Apple and Paul Towndrow has been likened to an amalgamation of every American saxophone hero.

One band particularly embodies the youthful and dynamic persona of the current Scottish jazz scene, The Tommy Smith Youth Jazz Orchestra. Playing sophisticated arrangements with astonishing verve and soloing with passion, imagination and fearlessness, here is a preview of Scottish jazz’s future presented exhilaratingly in the here and now.

Rob Adams, Jazz Critic, The Herald