Music > Interviews

Jazz Weekender

30/08/16

Back for its third year, the Norwich Jazz Club’s Jazz Weekender from the 2nd to the 4th of September is yet again attracting big names from the jazz world. Expect everything from bebop, to swing, Latin, as well as some fantastic jazz workshops. With this three-day event rearing its head, we spoke to a couple of the jazzers soon to hit the stage at Open and other local joints. “If you like Herbie Hancock's Head Hunters, Weather Report or early Jamiroquai, then you’ll definitely like our quartet!” says Tom O’Grady from electro-funk band Resolution 88 – and he has a whole lot more to tell us. We also chat with jazz crooner James Tormé, son of the legendary Mel Tormé and grandson of Thora Hird, and find out more about his thriving singing career in the US and here in the UK. 

Tom O’Grady – Resolution 88  

How long has Resolution 88 been going and how did you all meet?   

I started the band in June 2012, just as I left a Maths teaching job to become a full time musician. I already had an idea who I wanted in the band, based on friends in the music scene in Cambridge. I was very lucky that they all agreed to play!

Can you tell me a bit about each of the members, what instruments they play and what they bring to the quintet?

Currently, our band is predominantly a quartet of permanent members along with a guest percussionist for quintet gigs. For this Norwich gig, we have Chris Brice guesting, an exciting up-and-coming percussionist – he's very much in the vein of our drummer, Ric Elsworth. Both guys studied classically and cover everything from kit to tuned percussion. Rounding out the permanent members of the band, we have Tiago Coimbra, a long-time friend and musical collaborator of mine, and Alex Hitchcock on sax, another good friend and rising star on the London jazz scene. In terms of what everybody brings to the band, Ric is a real musical force on kit – he’s a very spontaneous, powerful player and instigates dynamic changes and follows ideas freely. Tiago is very well known for being one of the grooviest bass players around and he also brings his Brazilian heritage to the music. And with Alex, the first time I ever met him was on a function gig and I was immediately taken aback by how fluent his playing was – not only that, I love his tone on the tenor. Since he joined, the band has felt much more close-knit and committed. That's why it's such a pleasure that with our second album Afterglow, we have a studio recording that features Alex's playing.

How has the funk sound evolved?

There are some common themes that link our most recent songs to our very first efforts – first of all, the instruments we use are a defining part of our sound. Our music has definitely evolved though – part of that is that my composing has developed as I've done more and learned from my band members about what works and what doesn't. It's a combination of dictating the concept I have in my head for a particular song then trusting each member of the band to do their own thing with it. I hope that the end result, though, is something that each of us can present as a sincere reflection of our individual sounds as musicians.

What is your musical background, have you always played the keyboard (you play the Fender Rhodes now)?

I grew up with the piano and along with the Rhodes, it's what I love to play. I learned to play from the age of four with my Mum and then with a family friend who was a concert pianist. In my parents' house Dad would always be listening to or playing solo piano repertoire, whether it was Liszt, Ravel, Chopin, Brahms etc. I also played the trombone fairly seriously all the way through University, so I got plenty of experience counting bars' rest. I only really discovered jazz, funk and the Rhodes through hearing Jamiroquai and then Herbie Hancock – and that was in my early teens. I then began to teach myself jazz theory and pick up things by ear.

What well-known songs feature the Fender Rhodes?

Herbie Hancock's Headhunters album is the quintessential Rhodes album, in my opinion - well, anything that Herbie did in the 70's is, really. The Rhodes is quite a subjective beast though - some people (like me) love the smooth, full sound of Herbie's suitcase Rhodes. Other people seem to prefer the shrill, bell-like tone of Chick Corea's Rhodes on his Return to Forever and Elektric Band albums – I'm not really into that sound. Other well-known songs that use the Rhodes are – most of Jamiroquai's early albums, lots of Stevie Wonder's best songs (e.g. As, I Wish, Too High etc).  Who are your funk jazz influences?

My main influence is definitely Herbie, although I have some more modern influences such as Kaidi Tatham (a musical pioneer who was instrumental in the whole 'broken beat' movement) and Dan Goldman, who's a good friend but also mixes all our music. He's a master of keyboard instruments; not only can he play like nobody else, he also has a really deep understanding of all the different keyboards. 

Do you have any favourite Herbie tracks?

I really can't narrow it down to one track because he's been so prolific, but a shortlist of my favourite songs are Chameleon', Actual Proof, Sun Touch, Heartbeat, People Music, Come Running To Me. His acoustic period is another story and I'd have to count other masterpieces such as I Have A Dream and Goodbye to Childhood.

What has been your most notable musical experience?

The most memorable musical experience I've had so far was playing the piano solo from Heart's Desire on stage with Don Blackman – another of my heroes. Don sadly passed away a few years ago and I dedicated our first Resolution 88 album to him. Don was one of the most complete musicians I've ever heard or met – and he was a very warm, funny, humble man in person. We became friends over the course of a few years and then one year, at the Jazz Cafe, he called me up on stage to play with him. I didn't realise that it was the last year I'd ever see him.

Your quintet is very successful, going around the world to sell-out performances, how does that make you feel?

Well, we haven't gone round the world just yet, but we've just started travelling into Europe and playing in new countries. It's a huge privilege to be able to play music as a profession and even more than that, to have the reward of travelling together and playing our own music to audiences. Everybody in the band has put so much commitment and energy into what we do so as a band leader, I feel really happy that we're all seeing the fruits of our labour and enjoying playing together, which is why we do this in the first place.

Are you looking forward to performing at the Norwich Jazz Festival?

We're really looking forward to come to the Norwich Jazz Festival – Norwich is the hometown of our original saxophonist, George Crowley. I've played in Norwich once or twice before in different bands and, as much as this will probably grate with some people, I'm a big Alan Partridge fan! 

Some big names are on the bill – are you looking forward to any particular gig?

There are some great names playing at the festival – I would love to see Liam Noble playing with the Julian Siegel quartet, or Sirkis / Bialas IQ with Frank Harrison on piano and Kevin Glasgow on bass!

Tell us about your new album?

Our second album Afterglow is out on the 9th September. We're all very proud of it – this album is being released on the Splash Blue label, which is a label run by two good friends who've championed our music since we first started, and Bluey of [acid jazz band] Incognito. It's a great privilege for us to work with Bluey – he's run Incognito for longer than I've been alive and it means a lot to know that he's into our music.

James Tormé with the Tom Dunnett Big Band

You live in the US but you seem to come over to the UK quite regularly? I spend my time 50/50 between the US and London/Europe. It all began four years ago when I was invited to do a concert on Radio 2 with the BBC Concert Orchestra in honour of the late Ray Charles at the Cheltenham Jazz Festival. Gregory Porter and Madeline Bell were my co-stars. Actually I'm doing one or two of the numbers from that show at the Norwich Jazz Festival. You’ll be “celebrating the greats” with the Tom Dunnett Big Band – can you tell me a bit about this collaboration please? Yes – Tom and I worked together before when I performed a special concert with the SWR Big Band & Syd Lawrence Orchestra in the UK. We relate to each other a lot musically so it's a total joy to work together on this. You definitely take after your father Grammy Award Winning legend Mel Tormé with your velvety voice – did he encourage you to follow in his footsteps?

“No not really! Although he was more than aware of my musical talent, a life (like his) of ‘living out of a suitcase, banging your head against a wall as a music artist’ was nothing he envisioned, or hoped, for me. I think he coined the phrase ‘absence makes the heart go wander’. But I just can’t help being in music. And if you’re lucky enough to identify something you love, and you have a bit of talent, you should go for it. Anyway to answer your question, I’d like to think he'd be proud of the work I do. I have felt his presence several times during performances, which I tell myself is a good sign...” You’ll be “celebrating the greats” Ella Fitzgerald, Peggy Lee, Stevie Wonder, Ray Charles, Mel Tormé and more… this will no doubt be a popular gig. You’ve met some of the “greats” in real life – can you name a few and do you plan to sing any of their songs at the Norwich Jazz Festival? In terms of the show, this is something I have wanted to put together for a long time ­– a celebrating of a 'generous helping' of the recording artists, songwriters and arrangers that have shaped my musicality, and consequently my career. That said, we do change who we salute a bit for every show (to keep an element of surprise), but among the people we'll be celebrating are Buddy Rich, Miles Davis, Chet Baker, Peggy Lee, Ella FitzGerald, Ray Charles, Fred Astaire, (my father Mel Tormé of course!), Shorty Rogers, Marty Paich, Nelson Riddle and many more. It's such fun to do this. I spent time with several growing up. The CTG tour has been amazing. We've been able to do it all over the world. So needless to say I'm very grateful for that. We all are. Growing up in such eminent circles must have been amazing; did any of the jazz greats make an impact on you?

Spending many consecutive summers up in San Jose at a winery where my old man and George Shearing would appear each year had a lasting and profound effect on me, and my musical development. Watching these two geniuses, who always had a surprise in store for both them and the audience, was a veritable education in singing, timing, cooperative spontaneity, humor, and just about everything else that goes into being a great entertainer. I sat night after night behind the sound desk, transfixed, drinking it all in. These were back-to-back Grammy Award winning live albums I was witnessing. And it was all coming together so easily and organically. And by 'the process of osmosis' I absorbed certain things that I still use to this day. Stuff that still gets reflected every time I record or perform live. It's crazy. You have a lovely (velvety) voice and seem to like scatting – do you think you take after your dad and how would you describe your singing style? Thank you! Well, I think my singing is a mixture of two major influences: Mainly my dad, but also people like Nat Cole, June Christie, Chris Connor, Carmen McRae and Ella Fitzgerald. Secondly, everything else I've ever loved. The music of my own childhood, which I've always kept close to me and is a part of my creative process. Michael Jackson (my first tape was Off The Wall and the impression that album made on me was instant and irreversible), Stevie Wonder, Elvis Costello, Earth Wind & Fire, James Taylor, Take 6, then later D'Angelo, Maxwell and a few other modern acts. I like some of Jamie Cullum's records a lot, same thing with Michael Bublé. But in reality my jazz heroes are from the 40s and 50s. You’re also the grandson of the legendary actress Thora Hird (She’s loved in the UK), what was she like as a grandmother? Just the way you'd think. Super loving but also down to earth – she could tell you off if you needed it. But she could also make you feel so good. It all balanced out. In the end, I've drawn enormous pride and inspiration from her amazing career just as I do from those of my mother (actress Janette Scott) and father. I'm a product of all of them (all of it) if you think about it.

Are you looking forward to performing at the Norwich Jazz Festival? I’ve never been to Norwich before so I’m so glad to finally be making it into that neck of the woods. My brother Tracy is a huge fan of Norwich FC so I'm gonna try to get him a shirt! Seriously though, I've known about the festival for a few years now, and I must say I'm grateful to my buddy Brandon Allen (saxophone genius) for recommending me to Simon Brown, the festival director. Pretty much my favourite thing to do (in the world) is singing with a great big band so this is a gig that I'm looking forward to very much. Tell us about your new album?

My new album, which I'm just finishing up, will be coming out later this year or early 2017. It's kind of like a Michael Jackson meets Take 6/Pentatonix type of record. It’s basically a solo pop album but with a lot of harmonies. Six of the originals (and most of arrangements) were written by a total genius in London called James Rose. He and Jacob Collier are absolutely killing the game in vocal harmony work at the moment. Funny, because they've known each other since they were little tykes.

To find out more about the festival and tickets visit norwichjazzclub.co.uk