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.​.​.​At Short Notice

by The Michael Garrick Septet featuring Joe Harriott

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erthworks thumbnail
erthworks One of the best live sessions I've ever heard. Favorite track: The Second Coming.
auster boy south
auster boy south thumbnail
auster boy south I saw most of these guys play in many different lineups many years ago but here all together they show such inventiveness and telepathy and swing.
Great stuff. Favorite track: The Second Coming.
that80sguy thumbnail
that80sguy A lot of power and neatness in the performance. Technique and feeling that carries the mind away. Favorite track: The Sixth Seal.
Nick Bradey
Nick Bradey thumbnail
Nick Bradey Superb set from a magnificent band-it compliments the Live at the Union set , also recorded in 1966 at UCL my alma mater . Favorite track: Webster's Mood.
Oh yeah. hotter than this July day in Texas. slaps so hard.
perryperrysson1961 thumbnail
perryperrysson1961 Great album - love it - sound quality top class ***** Favorite track: Jones.
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  • Subversion Through Jazz: The birth of British progressive jazz in a Cold War climate - Matt Parker (Book)

    A remarkable new and groundbreaking study from Jazz In Britain’s very own Matt Parker.

    Subversion Through Jazz examines the beginning of the British progressive jazz (BPJ) movement from 1956 to 1964, attempting to identify and plot the progress of its coming into being. This eight-year period of inception was set against the backdrop of two specifically relevant world events: the failed Hungarian revolution in 1956; and the Cuban Missile Crisis, a potentially apocalyptic nuclear standoff between the United States and the USSR in the Gulf of Mexico in 1962. Like many art forms in the UK, British jazz underwent a paradigm shift during this period, transforming from imitator to innovator. A new generation of post-war musicians - spearheaded by the West Indian alto-saxophonist Joe Harriott - discovered their own sound, no longer aping American Jazz traditions but instead seeking out their own methods of expression within improvisation, embracing hugely diverse influences such as Blues, Indian music, twentieth-century Classical music, Rock’n’roll, African music, classic and contemporary poetry and literature, Caribbean music, Folk, R&B, and Soul, forging them into a uniquely British identity which would in turn influence musicians across the globe.

    The obsession with British art and culture which was all-pervasive in the pop and rock music of the UK from 1965 onwards had its roots in BPJ. The musicians involved in the movement were the first post-war contemporary jazz players outside the U.S. to meld an artistic nationalism to their music, introducing non-musical influences from the worlds of British and European art and literature, left-wing politics and musical influences from outside the sphere of jazz, such as the abstract classical compositions of Cornelius Cardew and Anton Webern, brass bands, and the music-hall traditions of Victorian and Edwardian Britain.

    The location of most of these artistic developments – an area of roughly four square miles in and around Soho, London - was simultaneously the covert battleground of the British Secret Service department MI5 and their adversaries the Soviet Russian KGB, an old empire pitted against a new one, and at least one significant Communist of concern to MI5, the Marxist historian Eric Hobsbawm, took a very serious interest in the British jazz scene at this time. Inspired by his cousin, the British jazz record producer and label-owner Denis Preston, and the Italian Communist intellectual Antonio Gramsci, Hobsbawm embedded himself in the movement, authoring a study of it in 1959 entitled The Jazz Scene, for which he adopted, as jazz writer for the New Statesman magazine, the pseudonym Francis Newton, an alias he had been developing for three years prior, unbeknownst to the British agents who were surveilling him.
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Vishnu 08:20
Jones 14:33
Promises 17:20


It has proven quite a challenge to pinpoint the exact venue and date of this concert. The original recording emanates from the archive of the former promoter of Club 43 in Manchester, Ernie Garside. Ernie’s collection consists predominantly of recordings of jazz concerts he organised at various venues across Manchester in the early to mid-sixties. Drummer Trevor Tomkins - the sole surviving member of the line-up on this recording - claimed though that the Garrick Septet never performed outside London. Furthermore, upon listening to the restored recording Trevor also noted that the general acoustics and audience noise gave the impression not of a club environment but of a hall, where appreciation of music rather than socialising was the order of the evening. Trevor suspected that the recording was instead made at University College London, where Garrick would have been welcomed as a returning alumni. Unfortunately, no adverts, gig listings or reviews in the contemporary press had surfaced to confirm Trevor’s hunch. The single unique feature about this show that gave any clue to its true origins was the absence of tenor man Tony Coe. A regular participant in the Septet, Coe should have been in the lineup for this performance but for unknown reasons was unavailable and, seemingly at short notice, replaced by Stan Robinson in what appears to have been Stan’s only performance with the band.

However, with dogged determination John Thurlow tracked down George Foster, the then secretary of the jazz society at UCL, who had recorded another gig featuring Garrick with the Rendell/Carr Quintet - released later as Live at The Union - at the suspected venue, and presumably around the same time. George happily confirmed that the recording was indeed made at UCL, on the 14th March 1966, although he has no recollection personally of having taped it. Interestingly, following a falling-out with trumpeter Ian Carr altoist Joe Harriott left the group mid-March 1966, and consequently it is highly likely this recording constitutes Harriott’s final performance with the outfit.


released September 4, 2020

Recorded at University College London on the 14th March 1966.

Michael Garrick - Piano
Joe Harriott - Alto Sax
Don Rendell - Tenor & Soprano Sax, Flute
Stan Robinson - Tenor Sax
Ian Carr - Trumpet
Coleridge Goode - Bass
Trevor Tomkins - Drums

Produced by Jazz In Britain Ltd.
© Jazz In Britain Ltd. 2020

Cover photo courtesy of Gabriel Garrick.


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Jazz In Britain Holmfirth, UK

A not-for-profit organisation, whose aim is to collect, curate, preserve, celebrate and promote the legacy of British jazz musicians. The archive collects, curates and preserves off-air and other recordings of British jazz performances.
The organisation will publish books, release vinyl, CDs and downloads, working in partnership with musicians and their families.
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