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1. I hear that you've just been
in Australia with Norman Jay - how was that, and how does 'that jazz thing'
go down down under?
It was good. Although the scene is smaller over there, there are
people making it happen. Jazz is good anywhere in my experience - although
what type is another question. Australia itself has produced some nice
jazz anyway. It's a constant process of movement. They've made some good
in roads into mainstream pop & rock so there's no reason why jazz
could not follow in its own way.
2. 'Impressed with' is good -
how did that album come about?
Well, 'Impressed' is the first straight up jazz compilation I've
done since Talkin Jazz 3. But that was German jazz from the MPS label.
'Impressed' is special because it's all deep UK jazz from an astonishingly
fertile period. I guess I am fortunate to be able to have the profile
and reputation to facilitate such a project. Ultimately it's knowing what
will work within an album context. Each of my compilations serve a slightly
different aspect of where I am musically. The 'Trust The DJ' CD's can
go a bit deeper, darker. 'Gilles Peterson Worldwide' is a more rounded,
holistic approach - echoing my radio show in many respects. And the 'Impressed'
album is just a jazz thing. I hope it's the first in a series. There's
lots of wicked UK jazz out there.
3. why do think that such a clearly
strong period of British music has been largely overlooked?
Difficult one to answer really. I don't think there's a specific
reason, more an unfortunate constellation of events that conspired against
it. I guess the allure of the 'other' - as in US & European jazz -
was always seen as a more exotic prize. UK jazz was probably consigned
in the public imagination to Acker Bilk, Kenny Ball and Humphrey Littleton.
The real art house guys like Mike Garrick, Mike Westbrook and Ian Carr
were only known to a select few within a small circuit. Their albums and
the themes they dealt with were too ambitious or 'difficult' to deal with
for the mainstream. Also, these albums were often only pressed in runs
of 500-1000 so numbers are scarce anyway. Over the years many of them
were snapped up by Japanese collectors and prices went mental. Rendell
Carr Quintet albums for instance fetch £4-500 plus. The irony is
that UK jazz records are amongst the rarest and most sought after and
so generally demand the highest prices. If you see any for under £100
you're very lucky.
4. worldwide goes from strength
to strength - have the listening figures gradually increased over the
years?
Yes, they have. It's a long process but it has an unforced, organic
feel to it. Just like the music I play.
5. do you ever feel a weight
of responsibility, in that worldwide is the only mainstream outlet for
the majority of the music that you play on there?
To an extent but it's not an burden in that sense. It's more a
privilege than a responsibility. There are other outlests - maybe not
nationally but locally. More and more specialist shows are cropping up
- on radio and the internet so I'm hopeful.
6. does it ever strike you as
strange that you get to play huge venues etc. with loads of, in the mainstream
context, really strange music?
Not really. It only hits home when I am booked to follow a 'mainstream'
DJ - although that hasn't happened for a while now. When I followed Carl
Cox on Radio 1 in Ibiza a few years ago, that was something of a debacle.
all these kids up for it on techno and then I come on and they're like...
'What the...'? However, I don't play the massive events or venues - I
wouldn't want to particularly.
7. who's hot this year for you?
Matthew Herbert Big Band. I'm really excited about them. They're
recording a session for Worldwide in April - stay tuned!
8. the future's bright, the future's...?
Jazz!
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