Arts and Entertainment

Bentley's Oyster Bar & Grill, London

JAZZ / Highly recommended

He has a tenor saxophone and an interesting pedigree, which is sometimes all you need to be flavour of the month in the contemporary jazz scene. But audiences at Ronnie Scott's last week were convinced that Joshua Redman - son of Dewey Redman, a respected Texan tenorist - is worth the reams of ecstatic reviews. His second album, 'Wish', features the guitarist Pat Metheny and is firmly recommended to those who missed him in London.

Media / Talk of the trade: Not all that jazz

DISCORD in the world of jazz: on to my desk drops a letter from those eminent practitioners Cleo Laine and John Dankworth, reporting outrage in the 'jazz fraternity' at the new remit agreed between the Radio Authority and Jazz FM, the London music station due to expand to north-west England this year.

Obituary: Peter Scott

David Peter Winstone Scott, journalist: born Speldhurst, Kent 28 April 1929; married 1960 Cecily Cousins (three sons); died 5 April 1994.

JAZZ / Shake, rattle and roll: Phil Johnson on Airto Moreira and Fourth World at Ronnie Scott's

Airto Moreira stands screened behind the bars of his vast percussion kit like a rather grizzled-looking African grey parrot in a cage. He squawks, too, letting out odd vocal yelps, guttural growls and, with the aid of a nose-whistle, jungle bird noises that bring the sounds of the Brazilian rain forest to deepest Soho.

A critical Guide: Jazz

Marlena Shaw (Jazz Cafe, NW1, 071-916 6000, tonight). Smooth US singer, with a big audience among upmarket jazz-funkateers.

Obituary: Speedy Acquaye

Nii Moi 'Speedy' Acquaye, percussionist: born Accra, Ghana 7 June 1931; died London 15 September 1993.

JAZZ / Slow burn: Phil Johnson on Betty Carter at the Royal Festival Hall

The secret of Betty Carter's unique style of jazz singing may well lie in her timing. Certainly, she seems to spend a lot of time looking at her watch. She is, she tells us, famous for overrunning her allotted span. A set from Ronnie Scott's band was followed by an interval and there were two long numbers from Carter's trio before the star made her entrance. She had hardly got going before those members of the audience with babysitting commitments started hustling out in the intervals between numbers. They missed the peak of the show: Carter burns on a slow fuse.

The Sunday Preview: Jazz

Jazz on a Summer's Weekend (David Solomons Estate, Broomhill, Kent, 0892 515152, today). Country House jazz weekend starring Humphrey Lyttelton and band (2.30pm); valve-trombonist Bob Brookmeyer (5.30pm); Alan Cohen and the Kent Youth Jazz Orchestra (8pm); and the 1959 movie, Jazz on a Summer's Day (4pm).

Lloyds promises five-point plan

THE LLOYDS Bank Tax Guide 1993/94, by Sara Williams and John Willman, promises a five- point plan to cut your tax bill and the chance to win a hand- held computer. It is published next Thursday at pounds 7.99.

JAZZ DIARY / Is he too slick for his own good?: Phil Johnson quizzes trumpeter Wynton Marsalis about the conflict between technique and spontaneity

The American trumpeter Wynton Marsalis, who completed a short British tour last week, has a reputation for dividing jazz fans into rival factions. For some, the 31-year-old is the pre-eminent jazz musician of his generation, playing with a mastery that no other contemporary artist can equal; for others, he's simply too slick for his own good, the dazzling technique concealing a dry, academic approach that is the antithesis of true spontaneity.

ROCK / Sado, but no suggestion of masochism

SADLER'S WELLS reverberates to the sound of cultures in collision. The majestic beat of the Kodo Drummers is all but drowned by the collective sucking-in of decadent Western stomachs. No wonder so many male critical voices dwell on the austerity of the drummers' communal lifestyle (on the helpfully named Japanese island of Sado), rather than the joyful noise that grows out of it. You don't have to count the women in the audience whose tongues are hanging out to know that these guys are a sexual threat.

Music not to blame for recording label collapse: Ronnie Scott's jazz club unaffected by demise of company

JAZZ'S familiar battle for solvency has been dealt another blow by the collapse of Ronnie Scott's Jazz House Records. But this time the music notorious for going in and out of fashion - and giving its practitioners a precarious living - is not being held to blame.

ROCK / Great Belly with a dreadful Sting in the tale

ON THE FLOOR of the Cambridge Junction, two teenagers are trying to take their relationship to a higher level. A very large bouncer reaches down and gently taps the uppermost of the couple on the shoulder, suggesting that this might not be the time or the place. Onstage, the band are also showing lusty appetites. Belly might have been hard to stomach. They are led by former Throwing Muse Tanya Donelly whose lyrics aspire to be twisted fairytales, but could come out as insipid psychological parlour games. In performance the whoops and wows of her band's debut album Star (4 AD) are very effective.

The lady speaks the blues: You can see Dana Bryant on MTV. So what? So she's a jazz poet. Joseph Gallivan reports

'You know, the last time it happened was Robert Frost for Kennedy, so seeing Maya Angelou reading her poetry at Clinton's inauguration, it was like wow, a black womaaan, that was fierce, heh heh heh. It must be a sign of the times - I had to do a double take.'

ROCK / Yeh, that's what I say: Phil Johnson on Georgie Fame at Ronnie Scott's, London

Although he'll be 50 this year, Georgie Fame still looks and sounds like his Ready Steady Go incarnation of 1964, recently disinterred for BBC 2's Sounds of the Sixties. The hair is greyer and the bags under the eyes more pronounced, but everything else is gloriously intact; deep, languid voice, effortlessly hip demeanour, a Hammond organ grown old in the service and a repertoire of jazz, blues and soul tunes culled from the Soho record-shop import racks of 30 years ago. As the ultimate badge of credible continuity, he even has his original conga player, Speedy, slapping out the backbeats. Lest we forget, 'Yeh Yeh' was kept back as far as the second number in the set.
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