Category: Jazz

‘Oh, for a beaker full of the warm South’

Roujan 2026

Like Keats with his ‘purple-stained mouth’, I was in search of ‘a draught of vintage’. I found many beakers in the Languedoc earlier this year.

Languedoc produces more wine than any region in France, even Bordeaux.

Encompassing many appellations, it’s a useful one to look out for in the UK; the wines usually offer good value, especially compared with fashionable Provence.

Vines are in evidence everywhere, going about their useful work; the climate is too hot to support significant farming of livestock.

 

 

 

 

 

 

 

 

 

 

 

We were invited to stay by our friend Rosemary George MW, a wine writer who divides her time between London and the South of France. At the time of our visit, she was in the process of updating her book ‘The Wines of Faugères’ for its second edition.

https://www.rosemary-george-mw.com/

We tailed along for her research. It was, as they say a tough job…..

Actually, tasting wines from the barrel is quite challenging, as is making intelligent comments at the same time. Fortunately Rosemary’s extensive knowledge and fluent French covered any gaps.

We visited three producers in three days, all family owned estates.

First stop, Mas Gabriel in Pézenas.

L-R: Bob Koprowski, Rosemary, Peter and Anne

 

 

 

 

 

 

 

 

 

Peter Core and his wife Deborah met in London in the 1990s, and in 2002 decided to pursue their dream to make wine in France. They started by going to New Zealand, learning viticulture and winemaking. In Languedoc, they fell in love with a small vineyard, found a vigneron’s house, and created their first vintage in 2006.

Their white wines are dry, rich and textured, with lovely fruit; they’re made from Vermentino (known locally as Rolle), a favourite of mine, blended with Grenache Blanc.

Of the reds we tried, Peter described Clos des Lièvres 2022 as ‘a toddler’. Named for the hares that run in the vineyard, it’s a blend of 75-80% Syrah with Grenache, aged in French 500 litre barrels for a year. At the time of writing the 2021 vintage is on offer from The Wine Society in the UK, reduced from £21 to £16.50 per bottle (see below).

As we entered the tasting room, I couldn’t help noticing a saxophone in the corner.

Among the black-and-white photos of jazz musicians, there were three of Peter himself on sax.

This striking image, supposedly signed by Billie Holiday, is actually Lorraine Glover, wife of the trumpeter Donald Byrd, photographed in New York.

 

 

 

 

 

 

 

 

 

 

 

 

Peter showed us his prized possession, a copy of the greatest jazz photo ever.

‘A Great Day in Harlem’ was taken in 1958 by Art Kane. Fifty-seven of the great names of the golden age of jazz answered the call to appear.

Some of them even turned up on time.

Sonny Rollins, the last musician in the photo still standing, died this year.

There’s a documentary about the creation of this ‘family reunion’ of jazz stars:

https://uk.video.search.yahoo.com/search/video?fr=crmas&ei=UTF-8&p=a+great+day+in+harlem#id=1&vid=df240d18d2b2853aae86e420290a773e&action=click

 

 

Next day, Félines Jourdain,

where they make Picpoul (the grape) in Pinet (the location).

arriving in Rosemary’s trusty Fiat 500

 

 

 

 

 

 

 

 

 

Our hostess Claude joined the family business in 1995 and now runs all aspects of the estate. Their labels follow a feline theme, ranging from a black kitten to a majestic panther.

We tasted five whites and a light red. The Picpoul Classique 2025 has concentrated fruit, citrus, crushed grapes; any hint of ripe sweetness is overtaken by salinity – hence its affinity with seafood. Mists off the nearby Thau Lagoon refresh the vines.

Like Mas Gabriel, Félines Jourdain wines have been available from The Wine Society since 1998; their rosé is a bargain at £8.50.

Picpoul de Pinet is a perfect match for oysters from the Thau basin.

We deserved a break for lunch.

Rosemary had booked a table upstairs at Le Grand Bleu.

 

 

 

 

 

 

 

 

 

We enjoyed an (almost) uninterrupted view of the oyster and mussel beds in the lagoon.

 

 

 

 

 

 

 

 

 

We ordered oysters, naturally, and prawns.

 

 

 

 

 

 

 

 

 

 

And two mussel dishes; these moules gratinées were outstanding.

 

 

 

 

 

 

 

 

 

On the third day, we rose again, this time to visit Cottebrune, A.O.C. Faugères.

Pierre-Antoine Gaillard explained that Cottebrune is ‘the family name of my mum’.

His father Pierre, a winemaker from Côte Rôtie in the northern Rhône, acquired the domaine in Faugères in 2007, then another in Banyuls on the Mediterranean coast.

‘It’s quiet here, and wild’ said Pierre-Antoine, whereas Banyuls is ‘paradise’.

We tasted half a dozen vintages in bottle, from 2021 to 2024.

 

 

 

 

 

 

 

 

 

 

‘Would you like to try some from the casks?’ asked Pierre-Antoine.

I resisted a reply of ‘Hell Yeah!’ and politely followed our host down to the cellar; this was the first time I can remember trying wine from the barrel.

 

 

 

 

 

 

 

 

 

 

Pierre-Antoine skilfully drew out the samples with a glass pipette.

We tasted individual varietals from the 2025 vintage, which would be blended before bottling.

It was time for a quiet lie-down before dinner.

Asparagus was the biggest I’ve ever seen, and the artichoke was the size of a sturdy child’s head.

 

 

 

 

I was able to have souvenirs delivered to my door.

Flying on Ryanair, we were unable to purchase bottles to carry home, but both Mas Gabriel and Félines Jourdain are represented by The Wine Society, and Vinceremos in Leeds has a comprehensive selection from Mas Gabriel.

At the time of writing, Mas Gabriel Clos des Lièvres 2021 is on Sale from The Wine Society:

https://www.thewinesociety.com/product/coteaux-du-languedoc-clos-des-lievres-mas-gabriel-2021-en.aspx

https://www.thewinesociety.com/search-results/?q=felines%20joudain

https://www.vinceremos.co.uk/?post_types=product&s=mas+gabriel

As far as I can ascertain, unfortunately Domaine Cottebrune’s wines are currently not available in the UK.

 

Bidding farewell to Peter Core, vigneron / saxophonist

 

 

 

 

 

 

 

 

 

 

 

Thanks to Rosemary for arranging the visits, our hosts for their generosity, and Bob Koprowski for his photos.

‘Twas the night before lockdown

I was walking in the local park on Sunday 1st November last year when my mobile rang.

It was Laura calling from the 606 Jazz Club.

I had booked tickets for Saturday 7th to see Brandon Allen. I knew booking was a risk, we were expecting to hear that a third lockdown was due to be announced any day.

Sure enough it was announced on Monday, and the Lockdown would start on Wednesday 4th.

 

“I’m ringing round to say we’re trying to juggle the schedule. If we can make the numbers work, Brandon’s available to play on Tuesday….

 

“Would you be interested? We’d like to go out with one last hurrah!”

 

I said yes immediately, we had little else in the diary that week…..

 

The 606 promised to call me the next day to let me know the outcome. In fact they rang again about an hour later – the show was on!

 

The Brandon Allen Quartet

 

The Brandon Allen Quartet on stage, November 2020

 

‘Brandon Allen is arguably the most exciting tenor player in Britain today’  Jazzwise

 

We knew Brandon Allen as the saxophonist with the Kyle Eastwood Band. An expat Australian, he’s a highly regarded jazz musician in his own right, and the 606 was showcasing his own band, the Brandon Allen Quartet.

He’s played with many big names, and has also had an occasional side hustle playing with The Blockheads.

This show would take as its subject another sax player, Stanley Turrentine, featuring his work on the Bluenote and CTI labels, along with Turrentine’s renditions of rock and pop hits of the 60’s and 70’s.

 

 

The 606 Club

 

My first time at the 606 was almost exactly two years before, to see two more members of The Kyle Eastwood Band: Quentin Collins on trumpet and Andrew McCormack on piano.

 

Quentin Collins, 2020

 

Quentin Collins described the 606 as ‘the most authentic jazz room in London’, and he’s not wrong.

Even with social distancing in place we couldn’t have been much more than two metres from the stage. It’s all you would expect a jazz club to be, an intimate space in a basement.

 

Waiting for showtime at 606, 2019

 

This time the club staff were very welcoming, and handled all the restrictions and precautions really well and without fuss.

(We enjoyed a chicken curry with a bottle of wine – remember those days?)

Between sets we were able to browse some CDs and were advised by the manager to choose Brandon’s ‘Gene Ammons Project’, the closest to the style of music we were listening to that evening.

The last year has been a tough time for musicians who want nothing more than to play for a live audience, and for the venues that exist to enable them to do just that.

 

In the meantime, the 606 are broadcasting a series of state-of-the-art streamed performances.

To view their upcoming Live Streamed Performances, click here:

 

https://www.606club.co.uk/account/videos/live/

 

606 Online Premium Membership costs £12.95 a year, and allows you to access an archive of past performances, and a discount on 606 Live Streams.

The Brandon Allen Quartet live stream is showing again tomorrow, Saturday 20 February at 8pm, and will cost you the princely sum of £5.95.

You can also access his concert from August 2020 for just £3.50, and all Pay to View fees go directly to the musicians.

 

 

Brandon Allen, 4 November 2020

 

 

I’ll be there to enjoy some ‘swing, invention and stunning instrumental technique’ from saxophonist Brandon Allen…. 

 

 

 

 

A Letter from F. Scott Fitzgerald in quarantine

Quarantined in 1920 in the South of France during the outbreak of Spanish Influenza, F. Scott Fitzgerald wrote this letter:

 

 

Dearest Rosemary,

 

It was a limpid dreary day, hung as in a basket from a single dull star. I thank you for your letter. Outside, I perceive what may be a collection of fallen leaves tussling against a trash can. It rings like jazz to my ears. The streets are that empty. It seems as though the bulk of the city has retreated to their quarters, rightfully so. At this time, it seems very poignant to avoid all public spaces. Even the bars, as I told Hemingway, but to that he punched me in the stomach, to which I asked if he had washed his hands. He hadn’t. He is much the denier, that one. Why, he considers the virus to be just influenza. I’m curious of his sources.

 

The officials have alerted us to ensure we have a month’s worth of necessities. Zelda and I have stocked up on red wine, whiskey, rum, vermouth, absinthe, white wine, sherry, gin, and lord, if we need it, brandy. Please pray for us.

 


POSTSCRIPT
Since ‘posting’ this letter yesterday, one of my subscribers has kindly pointed out that this is a parody by Nick Farriella, and provided a link which includes this concluding paragraph:

You should see the square, oh, it is terrible. I weep for the damned eventualities this future brings. The long afternoons rolling forward slowly on the ever-slick bottomless highball. Z. says it’s no excuse to drink, but I just can’t seem to steady my hand. In the distance, from my brooding perch, the shoreline is cloaked in a dull haze where I can discern an unremitting penance that has been heading this way for a long, long while. And yet, amongst the cracked cloudline of an evening’s cast, I focus on a single strain of light, calling me forth to believe in a better morrow.

Faithfully yours,
F. Scott Fitzgerald


 

https://www.mcsweeneys.net/articles/this-side-of-paradise-a-letter-from-f-scott-fitzgerald-quarantined-in-the-south-of-france

I saw Sinatra last night, at The Purple Room

It’s 1971. The curtain is about to go up at the Purple Room, Palm Springs.

 

And at 2am, Frank Sinatra comes onto the stage for a final appearance, with an orchestra and his best friend, Jack (a bottle of Jack Daniels).

 

‘You only play this room twice in your career: once on the way up….’

 

 

 

The curtain at The Purple Room

 

 

He’s reached the end of the road; he loathes Rock ‘n’ Roll, he hates the press, he even hates some his own songs:

‘You all know Somethin’ Stupid, yeah? Well if you’re thinking of singing it on your way home, I’ve got some advice for you’

‘Doobie Doobie, Don’t’

 

There have been triumphs along the way: a leading actor Oscar for ‘From Here to Eternity’; his concept records for Capitol; then little moments of revenge, like leaving Capitol to found his own record label….

‘Reprise records; that’s pronounced Reprise, like Reprisal’. 

 

And there have been good times too: nights with the Rat Pack, nights with his many lovers, and his obsessive love for Ava Gardner.

After a short break, he reopens the set with Come Fly with Me.

He gives us his views on Civil Rights, how he hated that Ella Fitzgerald and Sammy Davis Jr could play to white audiences but couldn’t walk through the same entrance as white artists.

He’s a Democrat who was going to support JFK for election to the presidency, but ‘Bobby pulled the rug on that, because of my supposed influence with The Mob’.

 

Then he takes requests:

‘My Way!’…. ‘I don’t think I remember the words to that one’.

‘New York, New York!’…. ‘Good idea; I don’t think I recorded it yet. Maybe if I ever come back from retirement’.

He pays tribute to his orchestra (of one), and the pianist stands to take a bow.

‘I sang a lot of saloon songs over the years, and before I bow out, I would like to perform a saloon song’.

Francis Albert Sinatra gives us One for my baby and leaves the stage, for the last time, to a standing ovation.

Of course there’s an encore: ‘New York, New York’ followed by ‘My Way.’

 

 

Richard Shelton

Returning to the stage, actor and singer Richard Shelton addresses the audience; ‘I wasn’t born in Hoboken, New Jersey, I was born in Wolverhampton, and this is how I usually speak. I first played Frank in Rat Pack Confidential in 2015, then I was asked to write this show to take to the Edinburgh Festival’.

 

Richard Shelton as Sinatra: Raw

 

 

 

 

 

 

 

 

 

 

Shelton inhabits Sinatra’s persona, capturing the voice, gestures, and most importantly the complex spirit of the man.

Sinatra: Raw has been touring the UK and finishes its run on November 3rd, at Wilton’s Music Hall. There are plans to develop the production.

 

Wilton’s Music Hall

Wilton’s is the oldest surviving significant Music Hall in the world. Built in 1859, it closed in 1881; it became a rag warehouse for a while in the 20th century, then fell into disuse and deteriorated towards dereliction.

It was due to be demolished, but a campaign and subsequent funding have allowed it to be repaired and conserved to its present condition. Some of the decorative features are faded but remain, the most distinctive being the barley-sugar pillars that support the gallery.

 

Barley sugar pillar, Wilton’s

 

 

 

 

 

 

 

 

 

 

The building has been a location for many film and TV productions, Richard Attenborough’s ‘Chaplin’, and ‘Sherlock Holmes, Game of Shadows’ among them, as well as music videos, including Frankie Goes To Hollywood’s ‘Relax’. (The band’s name derived from a poster of Sinatra, and a headline in ‘The New Yorker’)

This atmospheric space re-opened to audiences for a performance in 1997, Fiona Shaw in ‘The Wasteland’, and has been a thriving cultural centre since 2011.

 

The bar at Wilton’s Music Hall

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

http://wiltons.org.uk/

Wilton’s Music Hall, Graces Alley, London E1 8JB

 

Best gig of the year, and it was only February!

I’m often asked when to open a bottle of wine that’s been gathering dust in somebody’s rack – “will it still be any good?”

My advice?

 

“Open it without expectations, and hope to be pleasantly surprised”.

Sometimes I take a similar approach when the programme from Ronnie Scott’s appears in my inbox. Pick a name I recognise, and take a punt.

The chances are that, like me, you’ve heard of the band, Booker T. and the MGs, and their best-known hit “Green Onions”, released in 1962.

That’s how I came to be sitting in Ronnie’s on a Thursday night in February, waiting for Booker T. Jones to take the stage.

 

 

 

Booker T Jones, from the Ronnie Scott’s programme

 

 

His band came out first, three young dudes, followed by the man himself, elegantly dressed in a box-back suit and a neat Stetson hat: he carries himself with the authority of an ambassador, the bearing of a legend, and he beams with a smile like Louis Armstrong.

After taking his seat at the Hammond B3, we waited for him as he fastidiously wiped his keys (I was going to say “polished his organ”, but I thought you might misunderstand me, Matron) before launching into the set.

The opening number made me think of spaghetti westerns, as the warm sound of the organ rose to a melodramatic crescendo, with galloping drumbeats and twanging guitars.

 

“That was the theme from “Hang ’em High”, a Clint Eastwood movie from 1968″.

 

Booker Taliaferro Jones was born in Memphis, Tennessee on 4th November, 1944. Raised by musical parents on gospel and blues, by 16 he was playing saxophone professionally for Satellite Records (later Stax), and at the age of 17 he co-wrote a song for bluesman Albert King, later covered in the UK by Cream:

 

“Born under a Bad Sign”

“Born under a bad sign, been down since I began to crawl
If it wasn’t for bad luck, I wouldn’t have no luck at all

If it wasn’t for bad luck, I wouldn’t have no kind of luck
If it wasn’t for real bad luck, I wouldn’t have no luck at all”

 

Between songs, Booker told us that he’s writing his life story (“my advice is, don’t write your life story”) and made reference to his early career. He comes across as a modest man, but one who is not averse to dropping some names.

After seeing the Isley Brothers “and their sideman” Jimi Hendrix, in 1967 he went on to attend the Monterey Pop Festival, where “no-one was back stage; they were all out front, listening to Jimi”.

Booker stood up, strapped on a guitar, and sang his interpretation of Hendrix’s “Hey Joe”. It was matter-of-fact”, almost conversational:

 

“Hey Joe”

“Yeah, I shot her. I shot my old lady down. Yes, I did, I shot her.

You know I caught her messin’ ’round. Messin’ ’round town.

They ain’t gonna put a noose around my neck – I’m headin’ down Mexico way”
He played his “expensive guitar” to sound like a Hammond organ, leaving the fireworks to his guitarist (and son), Ted Jones.

“Purple Rain”

The next choice of song was even more unexpected. Recalling his Grammy award for lifetime achievement, he told us it was presented to him by “a young guy named Prince”.

It was a reflective, contemplative treatment, stripping it down to a song of lost love and friendship. As it reached its end, tears were flowing in the audience.

 

 

“Soul Limbo”

 

Returning to the organ, Jones lightened the mood. “I think of this next number I wrote as ‘The Cricket Song’.
“Maybe they stopped using it, and didn’t have the heart to tell me….”

 

 

 

 

Most of Booker’s original material on the night came from 1962 – 1968. “People started to say all the music we made in Memphis sounded the same, so we recorded “Time is Tight” in New York”.

Like Green Onions, the closing number has a driving bass line, tight drums, choppy guitar and jaunty organ, but with “Time is Tight” the evening took a funky turn.

 

Booker T Jones? We had no clear expectations, but it was the best gig of 2019, so far, and is likely to be one of the best by the end of the year.

 

The Band:

Ted Jones, guitar, vocals. Black jacket and T-shirt with a gold chain, and modest virtuosity.

Darian Grey, drums, vocals. Ripped shirtsleeves under his waistcoat, to show his technique.

Lawrence Shaw, bass guitar. Richly coloured shirt, patterned tan, gold and black, with a quiet authority.

 

https://www.ronniescotts.co.uk/