David Panton, Jan Steele, Nick Solomon, Bob Jackson, Terry Parkinson, John Adams, Nigel Phillips, Bob Wilson, Andy Peate, Bob Boucher, Gary Randall, Tony Richards, Maggie Nicols, Harry Beckett & Fred T Baker | Standard Deviation David Panton & Associates

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Jazz: Contemporary Jazz Jazz: Modern Creative Jazz Moods: Type: Improvisational
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Contemporary jazz interpretations of jazz standards.
Genre: Jazz: Contemporary Jazz
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  Song Share Time Download
1. I've Got the World on a String (feat. Jan Steele)
4:35 $0.99
2. Smoke Gets in Your Eyes
3:09 $0.99
3. Night and Day (feat. Nick Solomon)
5:50 $0.99
4. Round Midnight (feat. Terry Parkinson, Bob Jackson, John Adams, Nigel Phillips, Bob Wilson & Jan Steele)
12:30 $0.99
5. As Time Goes By (feat. Bob Jackson, Terry Parkinson, Andy Peate, Bob Boucher & Gary Randall)
7:02 $0.99
6. Stormy Weather (feat. Tony Richards)
7:05 $0.99
7. All Blues (feat. Maggie Nicols, Harry Beckett, Fred T Baker & Tony Richards)
16:03 $0.99
8. Look Beneath The Surface (feat. Maggie Nicols, Harry Beckett, Fred T Baker & Tony Richards)
12:18 $0.99
9. Out Of Somewhere
3:33 $0.99
Downloads are available as MP3-320 files.


Album Notes
NPM7284 Standard Deviation David Panton & Associates
1 – I’ve Got The World On A String (Arlen/Koehler) (4:35) Jan Steele – alto saxophone, David Panton – piano. EMI Music Publishing Ltd/Redwood Music Ltd.
2 – Smoke Get In Your Eyes (Kern/Harbach) (3:09) David Panton – piano. Universal Music Publishing.
3 – Night And Day (Porter) (5:52) Nick Solomon – soprano saxophone, David Panton – piano. Warner/Chappell North America.
4 - Round Midnight (Hanighen/Williams/Monk) (12:12) Jan Steele – alto saxophone, Bob Jackson – tenor saxophone, Terry Parkinson –trumpet, John Adams – guitar, David Panton – piano, Nigel Phillips – bass, Bob Wilson – drums. Warner/Chappell North America.
5 – As Time Goes By (Hupfield) (7:03) Bob Jackson – tenor saxophone, Terry Parkinson – trumpet, Andy Peate – bass trumpet, David Panton – piano, Bob Boucher – bass, Gary Randall – drums. Redwood Music Ltd.
6 – Stormy Weather (Arlen/Koehler) (7:08) David Panton –alto saxophone, Tony Richards – drums. EMI Music Publishing Ltd/Redwood Music Ltd.
7 – All Blues (Davis) (16:07) Maggie Nicols – voice, Harry Beckett – trumpet, David Panton – alto saxophone, Fred T Baker – bass, Tony Richards – drums. Kobalt Music Publishing Ltd.
8 – Look Beneath The Surface (Nicols) (12:15) Maggie Nicols – voice, Harry Beckett – trumpet, David Panton – alto saxophone, Fred T Baker – bass, Tony Richards – drums. Kassner Associated Publishing.
9 – Out Of Somewhere (Guiffre) (3:16) David Panton – piano. Universal Music Publishing Ltd.
Recordings © Panton Music
Audio CD licensed by MCPS Ltd London

The tracks on this album are taken from, or were intended to appear on, Nondo & Panton Music releases in the 1970s and 80s and, apart from one track, are all standard show tunes or jazz standards which such musicians have used as starting point for their improvised solos. Although I have never considered myself to be a jazz musician in that sense of knowing several hundred such tunes and their chord changes and substitutions intimately – inside out, back to front, and upside down – it has been necessary at times for me to perform some of them in bands other than my own more avant-garde/free-form projects, which led to my working on some of them in that latter context, often as a point of contrast and/or comparison with my own approach to composed/improvised music. For that reason I have given the overall title for the album as ‘Standard Deviation’ – a term which apparently comes from statistical analysis and refers to the degree to which a thing deviates from the norm – since my own interpretations will/do not conform to the accepted conventions as generally accepted by audiences, critics, many musicians, and an increasing number of academics, now that acquiring the necessary skills to play jazz and other improvised music, has passed from the practitioners in the field to tutors in colleges and universities. However, in the case of jazz standards, deviation from previous performances is itself a deviation from the norm given that the larger part of a jazz performance is governed by the improvisatory direction a musician decides to go on the spur of the moment but, with so many different styles within the jazz idiom and many different approaches and individual ‘voices’ within all styles and mixtures of styles, the (rhetorical) question is always going to be about where to place the norm. During the relatively short history of jazz any norms which have been briefly established have themselves been quickly superseded by others, giving this renewal process the only tangibly constant norm in an ever changing sound-world.
I’’ve Got The World On A String is a duo with Jan Steele recorded at Aston University Centre for the Arts in Birmingham in November 1977 and originally appeared on cassette NondoDPLP005 One Music Ensemble. It’s a rather skittish version which Peter Riley dismissed as part of ‘….a side of anti-modernistic jazz and composition’*, while Barry McRae noted its ‘…Monkish workout.’** Smoke Gets in Your Eyes is a solo piano version recorded by former Birmingham Jazz chair George West at his home in July 1977 and originally appeared on cassette NondoDPLP007 Question of Solace - One Music Ensemble. Barry McRae suggesting that this was ‘…given the kind of fractured treatment that the OME reserve for standards…’** Night And Day is another duo, this time with Nick Solomon recorded at a lunchtime gig in the Birmingham Arts Lab bar on 11 November 1978 and originally appeared on cassette NondoDPLP008. Barry McRae again makes reference to ‘…its Monk-like piano, with its hint of parody…’** The next two tracks are by a slightly larger versions of my One Music Ensemble. Round Midnight was recorded at a performance by a 9-piece at Aston University Centre for the Arts on 25 January 1980 and appeared on cassette NondoDPLP009. Barry McRae though it was given ‘an extraordinary ride by all concerned…[but]…got its chops together very well…’** and no mention of Monk-like workout, parody or fractured treatment. The solos are by Jan Steele, Terry Parkinson, Bob Jackson, John Adams and myself. As Time Goes By was recorded by a 6-piece at Frank Skarth’s studio in Birmingham on 29 September 1981 and appeared on cassette NondoFMC4 One Music Ensemble To Absent Friends Too, as a contrast to my own more avant-garde pieces. This time remarks about Monk-like piano came from Bob Jackson, who takes the first solo, followed by Terry Parkinson, Andy Peate and then myself. I
The next three tracks all have Tony Richards, who died in December 2015, on drums. Stormy Weather is a duet between alto saxophone and drums recorded at a Birmingham Jazz gig at the Strathallen Hotel 0n 2 December 1984 and appeared on cassette PM187 Panton-Richards. It clearly shows the close musical rapport we had together, in this intense interpretation. All Blues is performed, as is the following track, by a quintet recorded at Nottingham Jazz on 21 November 1984, although neither were included on PMA1184. It could not be said to be a slave to the original, but charts its own course from Maggie Nicols’ opening utterance of the lyrics through solos by Harry Beckett, myself, Maggie and Fred Baker, to the closing chorus of lyrics, with Tony working closely with Fred throughout to provide support to the ensemble. Look Beneath The Surface is not strictly speaking a standard yet, but there is no reason why British musicians’ work should not become source material for other musicians in the way that the work of Americans has done. It starts quietly with Maggie singing her own lyrics before Harry Beckett’s extended solo gives way to Maggie again, and ends quietly with an extended coda that reflects Maggie’s long association with free improvisation. And finally, Out Of Somewhere was recorded at Aston University Centre for the Arts in October 1979 at the end of a session by a 5-piece, but not included on PMA2-789, with just solo piano playing as the other musicians packed up their instruments and chatted in that post session void that musicians know so well. It fades in and then out in a little over three minutes, giving the impression of a soundtrack from a film scene
Whether or not the recorded tracks do differ and by how much from any perceived norm is ultimately up to the listeners to decide for themselves and according to their own personal opinions and gut feelings on the subject, and there opinions and feelings are inevitably going to be as diverse as not only these tracks but the whole recorded output of the music to date.
DP March 2016
*Coda, 172, 1980. **Jazz Journal International, August 1981.



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