In the U.S., between 1966 and 1971, American jazz became more funky and soulful as those music styles became increasingly popular on the radio, on records and in the youth culture at large. In the U.K., a shift was taking place as well, but it was slightly different. The transformation is vibrantly illustrated in a new three-CD box set: A New Awakening: Adventures in British Jazz, 1966-1971 (Strawberry/Cherry Red).
Back then, London's young demographic was older—in their late-teen and early 20s—and more pronounced than the pre-teen and teen segment in the U.S. The sound that most influenced jazz there was the city's swinging scene. Instead of America's bohemian hippie movement, you found a slicker, mod look in London swayed by the U.K.'s greatest export since bottled gin: pop culture.
Visitors to London in the late 1960s (that includes me) found a mix of youthful fashion styles—colorful, playful attire on Carnaby Street and Kings Road, but in Mayfair and Soho, you saw guys in black suits with small and sharp lapels, slim pants legs and thin black ties and, for women, Mary Quant skirts and colorful space-age ensembles. Jazz during the mid-1960s was influenced by the lot—the paisley-clad Bohos, the Georgie girls and the modish Alfies and Bond gal types. All were singles on the go eager for a cool soundtrack.
Overall, London jazz had a secret agent-y, Indio-psychedelic and baroque vibe mid-decade that morphed into a cinematic, sports-car feel as the demand for British films worldwide increased. Then rock elements and free jazz slid in by 1969 and the turn of the 1970s. The acoustic age was over.
The 48 tracks on this box are distinctly British, with glorious swinging rhythms. Groups and artists such as the Don Rendell & Ian Carr Quintet, the John Cameron Quartet, the Tubby Hayes Quartet, Harold McNair, Wynder K. Frog, Brian Auger, Ray Russell and even John McLaughlin and Jethro Tull went jazz.
As the 1970s progressed beyond 1971, Britain's dominance would slide. America resumed its top-dog role, becoming a hard-rock heartland thanks to the proliferation of affordable stereo systems from Japan, relatively inexpensive albums and sports arenas doubling as concert venues when teams were out of town. The U.K. wouldn't resume its position of influence until the early 1980s with the rise of MTV and visual music.
What this box illustrates best is a new direction in jazz that never quite appeared in the U.S. and, for the first time, broke with prior American styles. It was music influenced by the U.K.'s new enviable cultural status in the world as the suave inventors of 1960s swing, from the mini skirt and white lipstick to long hair on guys who wore Chelsea boots. In this climate, jazz was reborn as with-it and in sync with the newly mature set.
I loved listening to this box over and over, from start to finish. Think of it as a vast extension of Sonny Rollins's Alfie soundtrack album in 1966.
JazzWax tracks: You'll find A New Awakening: Adventures in British Jazz 1966-1971 (Strawberry/Cherry Red) here.
JazzWax clips: Here's a trailer...
Here's The John Dankworth Orchestra playing Return From the Ashes (from the film Return From the Ashes)...
Here's the Tubby Hayes Quartet playing Dear Johnny B...
Here's Jethro Tull playing One for John G...
Here's the Dick Morrissey Quartet playing Storm Warning...
Here's Harold McNair playing The Hipster...
And here's Epiphany by Garrick's Fairground With Norma Winstone on vocals...
