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EUROPEAN SCENEBy Peter MargasakJazz’s roots in Europe are strong. This column looks atthe musicians, labels, venues, institutions and eventsmoving the scene forward “across the pond.” Forquestions, comments and news about European jazz,e-mail europeanscene@downbeat.com.Pianist Liam Noble Offers Contrarian’s Homage to BrubeckBritish pianist Liam Noble doesn’t shy awayfrom the reasons he recently decided torecord a full album of Dave Brubeck music,simply entitled Brubeck (Basho).“In some ways I thought it was a goodway to be contrary,” Noble said. “I liked theidea of doing it and having a few people saythey don’t like it.” He also realized the pragmatismof the concept; it could generateinterest in his trio, with bassist DaveWhitford and drummer Dave Wickens, andhe wouldn’t have to set aside time to write awhole new book of tunes.But ultimately, Noble is a devoted fan ofBrubeck. “I knew that there would be actualjazz fans—the ones that go to the gigs—whodo like him and who don’t have theinsiders/jazz musicians thing, that [Brubeck]is not a killing technician or that he doesn’tswing like Wynton Kelly or that he comesacross as a bit stiff. None of those thingsseem important to me. I didn’t care aboutthe technique as much as the sound.”Noble’s thinking has paid off. SinceBrubeck was released this past April therecord has attracted new attention for thepianist, but the substance and merit of therecording easily trump the concept.“Tunes like ‘Blue Rondo À La Turk,’because they’re so well known, are almostlistened to as pop records,” Noble said.“If you’re playing ‘A LoveSupreme’ it’s a technical, spiritualand emotional odysseyto try and get into that musicand bring something to it.I was almost thinking ofBrubeck as a nostalgia thing,like the way the Bad Plusapproach some material, poptunes I imagine were part oftheir youth. That’s part ofwhat I wanted to bring to this, Liam Nobleto not be a jazz homage asmuch as playing music that I like.”It certainly required some nerve to tackleBrubeck warhorses like “Take Five” and“Blue Rondo À La Turk.” Wisely, Noble radicallyrevamps the arrangements of thesepieces, while giving other, lesser-knownworks such as “Cassandra” and “Autumn InWashington Square” relatively straight readings.Extracting these pieces from Brubeck’srather square persona also allows them tobe heard with fresh, less biased ears.Until the release of Brubeck, Noble’s reputationhas largely been that of reliable, flexiblesideman. But various gigs he’s had overthe years—including significant associationswith Moondog, Bobby Wellins and thefiery up-and-coming saxophonist IngridLaubrock—and recent collaborations withNew York-based cello improviserOkkyung Lee andtheremin virtuoso PameliaKurstin show how Noble’sversatility and curiosity haveprevented him from findinga concrete niche.“I don’t get to focus onone thing before somethingelse comes along, so it allgets muddled up, which Ilike,” Noble said. “I feel it’smore healthy.”Indeed, prior to the Brubeck project, oneof his most striking performances was an allimprovisedsession with Laubrock anddrummer Tom Rainey on Sleepthief (Intakt).The recording is alternately explosive andominous, but even in this context Noble’sdense, spiky sound is identifiable as thesame one on the Brubeck album.Noble is thinking of employing theBrubeck format for another trio recording,but he’s realizing that he might need tochange his modus operandi when it comesto leading bands.“I don’t like bossing people about,” hesaid. “So when I have bands they’ve been inpretty open contexts where you just givepeople the music and say, ‘Do what youlike,’ and keep your fingers crossed.” DBTaylor’s Mighty Growl, Personal Warmth Made Her RegalInternationally hailed as Queen of the Blues,Koko Taylor died in her home city of Chicagoon June 3 following complications of gastrointestinalsurgery. She was 80.Taylor’s numerous awards includedGrammy nominations and a NEA NationalHeritage Fellowship. Not long before a Mayhospitalization, Taylor had performed atKennedy Center in Washington, D.C., and theBlues Music Awards in Memphis. Still,Taylor’s life wasn’t defined by accolades, butrather her sincere rapport with audiences andby her humble and winning personality.“I hope someday people will look up to methe way people looked up to her,” singerShemekia Copeland said.Born and raised near Memphis, Taylor—then-named Cora Walton—worked in a sharecropper’scotton fields before moving toChicago after World War II with the man shesoon married, Richard “Pops” Taylor. RichardTaylor encouraged her to sing in South SideKoko TaylorPAUL NATKIN/PHOTORESERVEblues taverns, where her raw, powerfulsinging seized the notice of bassist/talentscout Willie Dixon. In 1965, Dixon broughther to Chess Records, and the ensuing million-selling“Wang Dang Doodle” wouldbecome her signature song. Taylor recordednine albums for Bruce Iglauer’s Alligatorlabel from 1974 until her death. Taylor’s last,Old School, was a triumph that she recordedwith typical verve and charisma after a miraculousrecovery from near-fatal intestinalbleeding in late 2003.“Koko was the icon of female blues,”Iglauer said. “She was a model for up-andcomingsingers, and she was determined tocommunicate with her audience in the mostprofessional manner. She never drank, neverpartied. It was all about getting there on timeand laying out the music.”Guitarist Bob Margolin added, “Everytime we hear a woman blues singer growl,Koko will live on.” —Frank-John Hadley16 DOWNBEAT August 2009