Kenny Wheeler

And the track I played was C'est Monsieur Qui Parle.

Now, though, we come towards the end of the first hour with Tony Devon, Bolton Radio's broadcast.com and the jazz session, and I'm going to play out with, I suppose, first the request someone asked for operatic jazz, and you can't get much better than this, the London Vocal Project from the Vital Spark album, Music of Kenny Wheeler, made in 2026, and Vital Spark itself, the title track, followed by some more Kenny Wheeler, with a John Dankwith orchestra, this time from Windmill Tilter, The Story of Don Quixote, made in 1969, and I'm going to play Bachelor Sam.

See you at the top of the hour.

The seasons come and the seasons go the sound of the moon, the rain, all the lights we touch on the way, the links we hold in the past.

Welcome to the B-side.

You're listening to Tony Dutton-Balton, ready to broadcast.com with a jazz session.

And I played out the first day with a bit of a Kenny Wheeler session.

Firstly, the London Vocal Project, then Kenny Wheeler himself with John Dankworth.

And I flew to London and played on a big piece that sort of featured me.

And then he did a world tour and asked me to, because he had Kenny Wheeler, John Hassel, and me on his records.

I think he said, well, Mark can probably do the Kenny stuff.

Nobody can do the John stuff, but if anybody can, it might be Mark.

And by the way, I learned something in my book this week.

Solo One, which was a Kenny Wheeler solo on one of his albums.

is a flugelhorn solo that in the middle of recording, Alfred said at ECM, just play a solo for me and we'll record it.

Have you been working on something? He says, I got this motif.

He says, then hit record and I'll play something.

So solo one from Kenny Wheeler was just that, him tooling around on his instrument.

That's what I heard in this audio clip.

Just the smooth, easy, no pressure to hit record, no pressure for a professional song, just fun.

You're listening to Tony Davenport on RaidersBroadcast.com. And I opened the show with a couple of great quintets.

Firstly, the Dave Holland quintet from Prime Directive in 1999 and the track Highwire, followed by the Kenny Wheeler quintet and what a quintet that was, and his 2015 album Songs for Quintet and the track Jigsaw.

Now, the featured artist and album for the show is a 60s classic, Bill Evans, with the album Moonbeams, which is the first album he made after the death of Scott LeFary, the bass player, who he was very attached to.

And that will be coming out in a little while.

Where would you like to take us for track number two, and how did you get there from Pookie?

Well, that cell in Pookie [plays piano] I thought was really intriguing, and it took me to Kenny Wheeler, who is a jazz musician.

And I love the way he takes something similar in his music, but adapts it in a completely different way.

Pookie uses a little cell and repeats it, and that gets, like, an earworm for us.

But Kenny Wheeler does something completely different.

He takes it, and it becomes kind of a, a cell which he generates an entire piece from.

And- And it's ever-changing, and our ear is constantly like, "Where are we going next?" In Pookie, [jazz music] it's that min- it's this little interval, which is like if you think...

It, it is in F# minor.

Lisa Soholka here with you every Monday, 12 to 3, doing a Love Supreme.

And then Kenny Wheeler here, a Canadian-born British trumpeter, and we heard the tune 1-2-3, and it has a fantastic quartet, which includes Chris Potter, Dave Holland, and John Taylor.

Amazing piece, 1-2-3.

¦

That was called Conjuration, as was the album.

It featured Kenny Wheeler at the trumpet, Hank Jones piano, Clint Houston bass, and Lewis Hayes at the drums.

Before that, Catherine Russell with Colin Hancock's Jazz Hounds on You've Got Everything a Sweet Mama Needs.

Now let's hear some great jazz guitar from 1976, Earl Clue, who remembers Laughter in the Rain.