Our weekly newsletters open with descriptions about the state of jazz and the Vortex. Here are some of the latest.
17 July
Can a “format” be live? A lot of discussion in music uses the term about the “format” of how one listens. Generally they fall into the categories of recorded music including physical, such as vinyl or CD, or digital, such as streaming or even broadcast media such as radio.
But the word “format” also is often applied to live performance, such as at a club such as the Vortex. The live “format”, especially in a small venue, provides intimacy and close interaction. So, check out the recorded “format”, but the live one can be more stimulating.
31 July
Recorded music can sometimes feel very dry and distant. Slightly better can be the opportunity to watch live music online, especially with more and more available on YouTube. However music, like most arts, is a two-way process. And in general is about a live dialogue with the audience, often initially inspired from the interaction of musicians. So we find it important to continue this at the Vortex, also making gigs accessible financially and a pleasurable experience. As London musician – and role model – Django Bates expressed it: “Making music was my most direct way of communicating with people,”
5 August
An essence of the club is that you get the chance to hear about the future of music as the musicians interact and explore. The Earth & Bones season is exactly that. With curators (ringmasters?) Liran Donin and Idris Rahman bringing together such dynamic musical forward thinkers. It’s symptomatic of so much of our programme where we encourage musicians to be dynamic and not rest on their laurels.
12 August
The Vortex’s best sponsors? Our ticket-buying public. Each ticket is bought by someone who believes in the music and is curious to be inspired and entertained. Similarly we have individual supporters who become members or donate via our charitable foundation. Of course we also apply to funders, such as the Arts Council, but the demands on them are high and rising. So we express our thanks to our ticket buyers and believe that our programme doesn’t let you down.
And not to forget our valiant team of volunteers who run the bar and the overall night every evening. Without them too we wouldn’t have survived nearly 40 years.
31 August
Jazz musicians, like many creative people, look back at history and particular influential musicians. But what the best come up with are not the equivalent of “tribute bands” like the Bootleg Beatles, with note-for-note transcriptions. Rather they take them as the inspiration for work. So, when we have musicians looking at Miles Davis, John Coltrane, or Charlie Parker, as we have over the next week, the music of the original “masters” may be indirect, and none the worse for that. And the original influences would almost certainly be nodding with approval, especially as, for example, those doing the tributes this week include trumpeters Klara Devlin, Laura Jurd and Sam Eastmond and the London Jazz Orchestra
4 September
The impact of Brexit and the rising cost of travel has perhaps limited the number of visits to the Vortex from European musicians. Similarly, one sees fewer British musicians on European festival bills. Neither is due to a perception of lack of quality. The musicians that we usually see at the Vortex have similar attitudes to our own musicians and indeed often collaborate successfully, as will be seen in that of Dee Byrne with Swiss musicians. But of course many also bring, often subtly, their own national characteristics. So, to have four gigs out of our schedule of 13 this week coming from Europe, is something that we celebrate. And to check if this argument is right, come along and see for yourselves.
11 September
We are a club that, over a life that will see us celebrating 40 years in 2027, has celebrated musicians from across the generations. As much because many of the older musicians who play at the Vortex have been trailblazers, such as Henry Lowther or Larry Stabbins this week, but also that the more experienced ones rarely just re-create their “greatest hits” but are also continually trying to investigate new paths. We are also pleased that it’s rare for such musicians to come to play at the club just “for the money”. Indeed, we would be disappointed if that was the main reason for playing. They’re trusted and encouraged to extend things. That’s what keeps us at the club positive night after night.