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Unapologetic Expression: The Inside Story Of The UK Jazz Explosion
ByI think for the first time, a lot of musicians are really fearless in representing the cultures they come from, and bringing that into what they create.
Wayne Francis, United Vibrations/Myriad Forest

André Marmot
424 Pages
ISBN: 978-0-571-37448-9
Faber & Faber
2024
Anyone who has kept half an eye on the UK/London jazz scene since the turn of the century will likely be aware that jazz there has gone from being low- keyin terms of popularity and visibilityto becoming something of a cultural buzzword. Where it was once stigmatized as elitist and dated, and mocked by satirical TV shows, jazz has risen to be hip once more, with its chief flag bearers courted by major labels and international festivals and their music championed by specialist media and broadsheet newspapers alike. How this transformation came aboutand the deeper meanings it representsis at the heart of author André Marmot's stimulating book.
Jazz' new successand the focus here is really on Londonalso marks a significant cultural and historical shift according to Marmot. The last time jazz was big news in the UK, in the mid to late-'80s, the stars of the day were predominantly of Caribbean heritagethe children of the Windrush generation. Fast-forward to 2024 and many of the leading figures of this new wave of jazz acolytes are the children of African immigrants whose music reflects both their heritage and their urban environment.
One of the main threads of Marmot's well researched and highly readable narrative is the socio-cultural parallel between this generation of London jazz artists and the historical roots of the music. The forces of imperialism, colonialism and globalization that brought jazz into existence over a century ago, he argues, continue to shape the music's evolution in the UK today, with London at its epicenter. This is a story not just of jazz, but of post-colonial Britain.
It is the story of how musicians like

Shabaka Hutchings
woodwinds
Nubya Garcia
saxophone
Binker Golding
saxophone, tenor
Theon Cross
tuba
Zara McFarlane
vocals
Moses Boyd
drums
Kokoroko
band / ensemble / orchestra
The Comet Is Coming
band / ensemble / orchestra
Ezra Collective
band / ensemble / orchestraAs such, Unapologetic Expression portrays this musicoften politically charged through the multiple lenses of immigration, race and gender, urban development, economic and educational disparities and political disaffection.
But the new wave of London-centric jazz (and related music) is also the result of the liberating DIY ethics nourished by harsh economic necessity, a spirit of entrepreneurship fired by racial prejudice, and the possibilities offered by modern technology. There is a lot to unpack but Marmot is well placed to tell this complex and muti-layered story.
London-born and raised, Marmot is a professional musician, agent, label owner and promoter. As thorough as his historical research evidently is, and as insightful as his personal observations are, the book's essential strength resides in the space he gives to the musicians themselves to tell their own stories. Like an epic operaand Unapologetic Expression would make for a powerful modern operathe large cast of revolving interviewees leave telling impressions on almost every page.
Through the voices of

Sheila Maurice-Grey
trumpetOscar Jerome
guitar
Cassie Kinoshi
saxophoneb.1993

Emma-Jean Thackray
multi-instrumentalistJoe Armon-Jones
piano
Camilla George
saxophone
Yazz Ahmed
trumpetShirley Tetteh
guitar, electric
Courtney Pine
saxophoneb.1964

Orphy Robinson
vibraphoneb.1960

Claude Deppa
trumpet
Cleveland Watkiss
vocalsb.1959

Gary Crosby
bass, acousticb.1955

Jason Yarde
saxophone, alto
Steve Williamson
saxophoneb.1964
The "explosion" of the title suggests a sudden emergence, the author dating the start of the new London jazz booma phrase that will doubtless become dated all too soonto 2009 and the band United Vibrations. That band, which featured the brothers Ahmad Dayes (trombone),
Kareem Dayes
cello
Yussef Dayes
drumsIf United Vibrations indeed showed what was possible in an ethnically and culturally diverse environment, the London jazz scene that has since emerged has not been shy to follow the example, drawing on multiple musical styles that reference Afrobeat, ska, reggae, dubstep, broken beat and electronica. The musicians interviewed in these pages are unified not just by their eclectic, inclusive influences (where nothing is off limits), but by a pride in their respective identity/ies. "We made jazz sound like London," says Ezra collective's
Femi Koleoso
drumsBut as any physicist will tell you, an explosion is conditional upon various agents reacting together. The London jazz scene post-2009 is no different. As the saying goes, it takes a village to raise a child.
To that end Marmot is persuasive in describing the grassroots community culture that has birthed and fed London's new jazz wave. It is a story of trailblazing venues/promoters hosting Black music nightsLuke Newman's STEEZ, Lex Blondin's Church of Sound, and Jazz Re:Freshed, the latter run by hip-hop DJs and promoters Adam Moses and Justin McKenzie. These hosted weekly music nights and jam sessions that were, the author stresses, vital to the scene's growth, particularly in light of the barriers to Black artists playing established venues. A chorus of voices pay tribute to mentoring organizations such as Kinetica Bloco and Janine Irons' and Gary Crosby's long-running talent development program Tomorrow's Warriors, and to all the teachers who have inspired and encouraged individual talent.
The symbiotic relationship between musicians, independent venues, media, autonomous festivals, independent record labels, mentors and DJs/tastemakersa jazz/Black music ecologyis a major theme of the book. DJ, label owner, promoter and festival curator Gilles Peterson merits a whole chapter, with particular emphasis on the relationship between jazz and dance culture. Peterson's broad church of musical styles, fed by and feeding into jazz, further underlines the fluidity of musical genres in Londonround and round, back and forth they go. This circularity of influences comes across as just an extension of the musical trade-offs between America, the Caribbean and Africa that, at various points in history, have informed UK jazz.
Interestingly, not all the protagonists in this book identify unreservedly or exclusively as jazz musicians, their reticence to be labelled, boxed and therefore somehow reduced echoing the attitudes of many leading American musicians as recounted in Radhika Phillips' book Being Here: Conversations On Creating Music (Radio.org, 2013). For many, jazz is just one more language in their toolbox. As Wayne Francis puts it: "I don't think there's necessarily a reclamation of jazz. What there is is a reclaiming of improvised music culture within Black British youth ... I think for the first time, a lot of musicians are really fearless in representing the cultures they come from, and bringing that into what they create."
The author does not go overboard in his praise for the musicians he highlights. Whilst clearly an admirer (this is after all a homage), there is a grounded perspective in his writing that sees this jazz "explosion" as part of an evolutionary process, and the musicians as being on a journey of development and growth.
Whether this current UK/London jazz wave (and the buzz around it) goes from strength to strength in the years to come, or whether it fades from public consciousness like previous surges in jazz' popularity (as many of the older heads warn), Marmot's Unapologetic Expression will no doubt stand as an essential reference to anyone seeking to make sense of the London/UK jazz scene either side of Brexit.
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