The Jamaican-born alto-saxophonist Joe Harriott was among the greatest exponents of jazz ever to have resided in the British Isles. His searing, endlessly inventive improvisations and his incredible virtuosity have secured him a place in the jazz pantheon, yet at the time of his death in 1973, he was a forgotten figure, ostracized from the wider jazz community. This was largely as a result of his excursions into what has since become known as free-form jazz, a path Joe trod in the 1960s with a passion and fervour that many of his contemporaries perceived as a waste of both his skills and energies. As often happens with visionaries such as Joe Harriott, however, the passage of time has shown that he was indeed an innovator, and that his free-from jazz explorations were not only a hugely valid musical statement but also Joe’s way of freeing himself from the shackles of Charlie Parker’s influence. As Joe himself famously remarked: “Parker? There’s them over here can play a few aces too.” And nowhere is that statement better exemplified than in the two albums collated on this Vocalion reissue. Recorded in the early 1960s at London’s Lansdowne Studios, they feature the Joe Harriott Quintet at the very top of its game, blending free-from material with more conventional forms of modern jazz. Joe is heard alongside the inimitable Shake Keane, the Carribean-born trumpet and flugelhorn virtuoso whose like we have not seen since his death in 1997. The free-from element is represented on the 1964 Movement album by Joe’s compositions Beams, Movement and Spaces, and there’s a nod in the direction of his erstwhile employer with the inclusion of Michael Garrick’s Face in the Crowd. One of the most beautiful moments comes in Morning Blue, a hauntingly evocative Joe Harriott original that Shake Keane later re-recorded on his 1967 album That’s the Noise. Going in the opposition direction, the Broadway musical High Spirits might seem like odd subject matter for the Joe Harriott Quintet, given its relentlessly modern outlook. Yet it’s what constituted the music on the second album in this collection, albeit resplendent in pianist Pat Smythe’s colourful, swinging arrangements. In fact, this material is ideal for both Joe and Shake in that it brings out their genius for lyrical, melodic improvisation, particularly so in such numbers from the show as If I Gave You, Home Sweet Heaven and I Know Your Heart. Sterling support is provided throughout both albums by Pat Smythe (piano), Coleridge Goode (bass) and Bobby Orr (drums). What’s more, both the Movement and High Spirits albums were originally issued in mono only, but Vocalion has sourced this reissue from the original stereo master tapes, thereby allowing this wonderful music to be heard in its true splendour. Remastered from the original stereo master tapes.

“Michael Garrick is the most poetic and painterly of the Sixties British jazz men, and The Heart is a Lotus is the composer’s/pianist’s pastoral jazz masterpiece….‘Temple Dancer’ draws heavily on Garrick’s interest in Eastern music (check Norma Winstone’s incredible vocals here).”
Andy Thomas, Straight No Chaser Magazine, Winter 2005

“Ian Carr is his beautiful understated self, playing with a mute but a million miles from Miles on ‘Temple Dancer’. ‘Beautiful Thing’ has gorgeous arco figures from Coleridge Goode, and some fine clarinet work from Art Themen and the little-remarked Jim Philip….I always thought this was the record that really established Michael Garrick’s quality. Great stuff.”
Brian Morton, Jazz Review, October-November 2005

“The Heart is a Lotus is put together with glorious attention to detail – nothing wasted, subtle, charming and gorgeous. There’s so much here to admire….The album closes with ‘Rustat’s Grave Song, a track that for me ranks alongside W.C Handy’s ‘Didn’t He Ramble’ as one of the great funeral elegies in jazz. Any better elegy or closing track eludes me.”
Duncan Heining, Jazzwise, September 2005

No.3, Top 10 Reissues of 2005, Duncan Heining, Jazzwise, December 2005-January 2006

No.7, Top 10 Reissues of 2005, Stuart Nicholson, Jazzwise, December 2005-January 2006

CDSML 8400

“The Septets are very fine indeed. Joe Harriott and Tony Coe solo on ‘Webster’s Mood’, a rich swing tribute. Don Rendell takes the main theme on the waltz ‘Ursula’, with thoughtful contributions from Ian Carr and Coe again.”
Brian Morton, Jazz Review, October/November 2005

“This album contains some genuine delights. Though I’m no fan of poetry and jazz, somehow John Smith’s words and plummy English vowels on ‘Jazz for Five’ and ‘Jazz Nativity’ suit the music so much more than Kerouac or Roxroth ever did. It’s well worth parting with your hard-earned for this one.”
Duncan Heining, Jazzwise, September 2005

No.7, Top 10 Reissues of 2005, Mike Flynn, Jazzwise, December 2005/January 2006

“It sees the composer rework Duke Ellington’s approach into a personal vision comprising poetry, religious music and unusual instrumentation….Black Marigolds is a superb album of unorthodox jazz originals.”
John Fordham, The Guardian, 15 July 2005

“An intriguing glimpse of an accomplished artist reaching out across disciplines.”
Clive Davis, The Times Sunday Supplement, 2005

CDSML 8411

“This is music of charm and vitality….‘Anthem’ manages to pull together a choir, free-blowing horns and jazzy Purcell with aplomb.”
Tim Dorset, Jazz Review, April/May 2006

“‘Sweet and Sugary Candy and ‘Fairies of Oneiros’, with an appropriately puckish solo from Garrick, have a joy to them that’s quite affecting and the performances always, but always, suggest a band having fun. ‘Little Girl’ is a charming ballad with fabulous alto from Harriott and beautiful arco bass from Goode. One to enjoy.”
Duncan Heining, Jazzwise, March 2006

CDSML 8413

Pianist-composer Michael Garrick makes his fourth and fifth appearance in Vocalion’s CDSML series during February 2006, with more of his thoughtful, sometimes esoteric but always unique brand of jazz. CDSML 8415 features Cold Mountain, his 1972 trio recording for Decca’s Argo subsidiary, and consists of seven original Garrick compositions including the exquisite First Born. Garrick receives brilliant support from double bassist Dave Green and drummer Trevor Tomkins who, incidentally, is the cousin of British jazz piano legend Roy Budd.

“Vocalion continue to dig deeper into the British jazz archives with more essential releases….Featuring a sublime version of ‘Prayer’ alongside the joyful ‘First Born’ and the epic ‘Cold Mountain’, Garrick’s only trio album is further proof that as a pianist and composer this lyrical Englishman stood shoulder to shoulder with titans like Ellington and Bill Evans.”
Andy Thomas, Straight No Chaser Magazine, Spring/Summer 2006

“Cold Mountain is a fine trio album from pianist-composer Michael Garrick. His small group compositions are among the finest anywhere, rich in melody and ringing with feeling. Perhaps the piano trio is Garrick’s natural environment. And when the rhythm section is as fine as that on offer here, he positively glows.”
Duncan Heining, Jazzwise, May 2006

“Whether it be the instinctive interplay between the trio, or the exceptional recording quality and mastering, one cannot but conclude that we have before us an album that has all the qualities of a long neglected masterpiece.”
Tim Stenhouse, Manchester Evening News, 31 March 2006

CDSML 8415

CDSML 8426

This CD features Michael Garrick’s 1971 Argo album Mr Smith’s Apocalypse. Recorded under the name of Garrick’s Fairground (conducted by Peter Mound), it is a jazz cantata with music by Garrick and words by poet and Garrick collaborator John Smith. Alongside the pianist, this compelling work features the Somerford Junior School Choir conducted by Mary Tickner, and the instrumental prowess of Don Rendell and Art Themen (saxes, reeds), Norma Winstone (voice), Coleridge Goode (double bass) and Henry Lowther (trumpet, flugelhorn). Also included is Garrick Fairground’s rare, two-track 1971 Epiphany Argo EP, featuring the same line-up as Mr Smith’s Apocalypse, except that Dave Green (double bass) replaces Coleridge Goode.

"Michael Garrick - born in 1933 - is a peculiar character of English music who undoubtedly should be better known and appreciated by a larger segment of record-consuming population. His compositional attitude shows both admiration for traditions and the urge of trying new solutions in settings and orchestrations that mix lots of different ideas and influences. This probably derives from being self-taught (hey - the best talents own gifts, did you ever notice that?) and, in fact, he was once expelled by a piano lesson for inserting a quote from "In the mood" during a pupils' exhibition. The main feature Garrick is remembered for, though, is the fusion of jazz and poetry, of which this CD - reissuing an LP from 1971 - is a great example. The basic concept underlying poet John Smith's writings is that "god never seems to listen, never intervenes when most desperately needed and prayed to" (this was then; one wonders what Mr. Smith would have written today). The leader, who plays organ throughout, adapted the lyrics to the score in such a fashion that the outcome, a so called "jazz cantata", sounds like a cross of twisted excerpts from musicals - "Jesus Christ Superstar" to "Tommy", to name a couple that sprang to mind - enhanced by strange intervallic designs and harmonically complicated passages nearing the whole to the most intricate progressive rock. The principal vocalists are Norma Winstone, George Murcell and Betty Mulcahy besides Smith himself; the band comprises Henry Lowther (trumpet, flugelhorn), Don Rendell and Art Themen (tenor & soprano saxes, clarinet, flute), Coleridge Goode (double bass), Trevor Tompkins (percussion). Eccentric, abnormal music that requires attention in large doses and repays it in full. The reissue is completed by two tracks, "Epiphany" and "Blessed are the peacemakers", that came out in the same year on an EP, then disappeared; the latter in particular is a splendid song, somehow recalling the work of Christian and Stella Vander in Magma and Offering, a reinforcement of my suggestion to get a copy of this forgotten gem. Bizarre, yet so interesting"
Massimo Ricci, www.touchingextremes.org, February 2008

CDSML 8440

CDSML 8444

This DVD features the new quartet of British jazz legend Michael Garrick in concert at London’s Pizza on the Park venue. The quartet are the talents of fellow British jazz legend Alan Jackson (drums), Martin Hathaway (alto-sax, reeds), Paul Moylan (double bass) and special guest Mark Hanslip (tenor sax). In an enthralling programme the quartet perform material ranging from timeless standards such as It Don’t Mean a Thing… all the way to Garrick originals (A New September, Lime Blossom) as well as a Joe Harriott free-from composition (Compound), all with the style, panache and invention you’d expect from world-class musicians such as these. DVD extras include Duncan Heining’s fascinating interview with Michael Garrick, recorded at Pizza on the Park, in which the pianist discusses his career, his influences, working with Joe Harriott and Shake Keane, and British jazz in general among other subjects. The release of this DVD is further confirmation of Vocalion’s commitment to supporting and promoting British jazz, and is a superb companion to our series of Michael Garrick CD reissues.

DVDPZ 9000

Region Code: Zone '0' i.e. playable in all regions world-wide
Format: PAL

The DVD price includes the postage and packing charges

“Garrick is a national treasure, less well known than his talent deserves. The first part of this excellent DVD contains a recording from Pizza On The Park over two nights in December of 2006, and very good it is too. Garrick combines many different influences in his playing and compositions. They range from Ellington to Monk and contain some free passages as well as classical motifs. Martin Hathaway on alto is new to me – my loss as he's a terrific player. The second part is a lengthy interview where Garrick talks intelligently and with humour about his early years, composition, previous band members and poetry and jazz. Compelling stuff all round.
As an afterword it does seem to me that the BBC and Channel Four are missing a trick by not looking at least three of these DVD's to see just how well jazz can do on a small screen. The ones by Garrick, Petrucciani and "Lockjaw" would sit quite comfortably in any ‘Arts Culture’ slot without too much editing, and the first two would be the equal of anything shown recently, without any danger of an audience turning off. The production values are high, and yet (I am guessing here) the production costs are not high.”
Mike Rogers, Jazz Review, March 2008