Musicians in tune with audiences as jazz festival returns - Jim Gilchrist

Jim Gilchrist previews the 2023 Edinburgh Jazz and Blues Festival starting this weekend

By the time you read this, this Saturday afternoon’s ever-popular Mardi Gras may already be raising the dust from the Grassmarket cobbles, as Edinburgh Jazz & Blues Festival gets well and truly underway.

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As previewed in this column last month, the festival, which runs until 23 July, features more than 110 events across the capital, covering the entire stylistic gamut of jazz, from New Orleans traditional to ultra-contemporary sounds from a SPARK Norwegian showcase, as well as from Italy, Belgium and elsewhere (see www.edinburghjazzfestival.com).

Among the legion of performers from Scotland’s own jazz hotbed featuring at the festival, two are among the tutors at an ambitious Jazz Summer Camp being held near Biggar next month.

Helena Kay will be playing throughout the jazz festivalHelena Kay will be playing throughout the jazz festival
Helena Kay will be playing throughout the jazz festival

One is award-winning saxophonist Helena Kay, currently enjoying a busy festival, appearing in duo with pianist Alan Benzie in support of Italian pianist Enrico Zanisi on the 15th as well as joining the ranks of Anglo-Bengali pianist Zoe Rahman’s band on the 17th. Another Jazz Camp tutor playing at the festival is pianist Tom Gibbs, who appears with the young Glasgow drummer Chun-Wei Kang (18th).

Based at Wiston Lodge near Biggar, the course, running from 7-11 August is led by two eminent jazz figures – Ryan Quigley, an in-demand trumpeter who has toured and recorded with the likes of Quincy Jones and Aretha Franklin, and drummer Andrew Bain, who was recently appointed head of jazz at the Royal Welsh College of Music and Drama.

Also teaching at Wiston is double bassist Andrew Robb who is, like Kay, a former Young Scottish jazz Musician of the Year and now a senior lecturer at Leeds College of Music.

The course will cover all aspects of jazz, from fundamental theory to advanced techniques for ensemble and big band playing. Quigley, who regards jazz as a powerful tool for personal and artistic growth, describes his team as “a highly qualified and talented group who have a wealth of professional experience and can give students the tools they need to become confident and expressive musicians.”

He regards Wiston Lodge, a former Victorian hunting lodge, as “itself an inspiring environment.”

Speaking as a tutor, Kay recalls similar courses they attended as a student, such as the National Youth Jazz Orchestra summer school (led by Bain): “It's such a good chance to spend time with like-minded musicians and learn from incredible tutors. I learned a lot and made lasting friendships. It's a great way to build confidence in music and beyond."

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The five-day course costs £650 including accommodation and meals. For full details contact [email protected].

Another musician keeping busy beyond the current festival is saxophonist Tommy Smith, who renews his celebrated collaboration with veteran Norwegian bassist Arild Andersen, playing in Andersen’s trio along with drummer Thomas Strønen at the St Bride’s Centre on Saturday, 22nd July. Next month, however, the Fringe sees him revisit another partnership, this time with the Edinburgh-based Russian artist Maria Rud, in a spectacular visual art and music event, Luminescence, which runs from 17-19 August in no less a venue than St Giles’ Cathedral.

Rud has become famous for her AniMotion shows, in which she creates real-time paintings in response to live music, the images projected on to the interior or exterior wall of the venue – in this case the east wall of the cathedral. Previously she worked with Smith in his role as director of the Scottish National Jazz Orchestra when they joined Rud in their Where Rivers Meet collaboration in May 2021. This time Smith will be playing solo, saxophonist and painter, both to each other’s improvisations, and to the ambience and acoustics of the ancient space.

“Images come to me with music,” says Rud. “It is not a single image or a collection of images, but a live ‘storyboard’ in which music plays the role of a script, and in this case the script unfolds as Tommy and I converse through our respective media.”

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